tarcbmont  Public  Library 
Larchmont,  Hew  York 


Digitized  by  the  Internet  Archive 

in  2014 


https://archive.org/details/parishwatsoncollOOpari 


THE  PARISH-WATSON  COLLECTION 
OF  MOHAMMADAN  POTTERIES 


Frontispiece.  Number  42.  Large  Pottery  Vase  with  Relief  Decoration.  Persia,  about  1300  A.  D. 

Parish-Watson  Collection. 


THE  PARISH-WATSON  COLLECTION 
OF  MOHAMMADAN  POTTERIES 

By  R.MEYER  RI  EFSTAHL,  Ph.D. 


E.  WEYH  E 
710  LEXINGTON  AVE. 
NEWYORK  •  MCMXXII 


THIS  BOOK  HAS  BEEN  PRINTED 
IN  FIVE  HUNDRED  COPIES.  THE 
PRESENT  COPY  IS  NUMBER 


3? 


PREFACE 


BESIDES  their  beauty,  important  works  of  art  convey  important  facts  of  history 
and  civilization.  Therefore  the  present  publication  of  Mohammadan  potteries 
in  the  collection  of  Mr.  M.  Parish-Watson  ought  to  be  not  only  a  descriptive 
catalog,  but  also  a  guide  to  the  amateur  who  approaches  this  interesting  field  of 
art  with  the  desire  of  artistic  enjoyment  and  the  will  to  learn. 

In  the  first  place,  this  book  is  written  for  American  readers.  The  art  lover  in 
Europe  has  friends  of  similar  interests,  museums  and  libraries  everywhere  within 
reach.  Many  of  the  art  lovers  in  America  are  pioneers  in  the  field  and  would  have 
to  travel  hundreds  of  miles  to  the  sources  of  information.  Therefore  I  thought  it 
advisable  to  start  from  a  broad  basis  and  to  answer  all  questions  which  might  be 
asked  by  an  attentive  reader  who  has  no  reference  library  at  hand. 

Besides  sketching  a  general  historic  background,  I  tried  to  connect  Mohamma- 
dan pottery  with  its  Assyrian,  Achaemenid,  Roman  and  Sassanian  predecessors 
and  to  show  its  influence  on  European  art.  I  also  tried  to  give  a  vivid  picture  of 
Persian  civilization  in  the  twelfth  and  thirteenth  centuries  by  using  the  informa- 
tion contained  in  these  charming  paintings  on  pottery.  Futhermore,  it  is  impos- 
sible to  understand  or  appreciate  a  work  of  art  without  knowing  how  it  is  made. 
y\I  therefore  tried  to  explain  the  technique  as  simply,  clearly  and  completely  as 
possible. 

All  information  of  general  interest  is  condensed  in  the  first  part  of  the  book. 
vr-With  the  help  of  the  index  the  reader  will  easily  find  a  discussion  of  details  which 

may  arouse  his  interest  when  he  studies  the  pieces  of  the  collection. 
J   The  commentaries  upon  the  different  specimens  compare  them  with  other  pieces 
in  American  and  European  collections.  The  publication  of  a  number  of  potteries 
in  other  great  American  collections  may  be  particularly  welcome  to  the  European 
^reader.  Important  points  of  comparison  have  doubtlessly  been  omitted.  When 
j  America  possesses  such  an  immense  collection  of  photographic  material  as  the  Bib- 
liotheque  Jacques  Doucet  in  Paris,  all  such  study  will  be  much  easier.  Fortunately, 
the  gathering  of  such  a  treasure  ofinformation  now  seems  under  way  in  New  York. 

Another  difficulty  was  the  color  reproductions.  The  Europeans  have  reached  a 
perfection  which,  as  we  often  hear,  is  unattainable  in  the  United  States  "where 
work  has  to  be  done  quickly  and  in  huge  quantities,  or  it  would  not  pay."  The 

Co] 


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PREFACE 


beautiful  "Ceramique  Orientale"  by  M.  Riviere  has  set  a  standard  which  we  tried 
to  attain.  The  engraving  of  the  color  plates  of  the  present  volume  are  certainly 
unequal,  but  the  reproduction  of  Number  42,  which  was  made  by  the  DeVinne 
Press,  may  be  shown  as  an  example  of  sincere  and  thorough  workmanship.  As  far 
as  possible  we  tried  to  set  the  potteries  in  a  definite  atmosphere  on  a  background 
of  drapery.  One  of  the  fundamentals  of  Persian  art  is  the  desire  for  strong  color. 
In  the  thirteenth  century  these  mediaeval  potteries  were  seen  in  combination  with 
strongly  colored  fabrics,  not  with  pale  grays,  tans  and  browns.  I  have,  therefore, 
not  hesitated  to  put  a  brilliant  turquoise  bowl  or  pitcher  on  a  deep  red  velvet 
(Number  16  and  Number  37).  The  gay  glitter  of  colors  in  bowl  Number  3  3  was 
intentionally  set  on  crimson  red,  and  the  cobalt  blue  bottle,  Number  3  9,  on  burnt 
orange.  With  the  experience  now  gained,  I  am  more  and  more  in  favor  of  such 
strong  color  harmonies  instead  of  the  "neutral"  backgrounds. 

Working  on  this  book  was  a  pleasure.  The  specimens  of  the  collection  were 
selected  with  such  discrimination  that  they  represent  the  height  of  mediaeval 
Mohammadan  pottery  art. 

First  of  all,  I  wish  to  thank  the  owner  of  the  collection  for  his  far-sighted  co- 
operation, which  made  it  possible  to  illustrate  the  book  with  much  interesting 
material  from  other  collections.  Professor  Sprengling  in  Chicago  gave  his  valuable 
advice  on  some  of  the  inscriptions.  I  also  wish  to  thank  Mr.  Mortimer  Schiff  for 
permission  to  reproduce  a  fine  Rhages  bowl  from  his  collection.  To  Dr.  Frank 
Weitenkamp  of  the  Art  Department  of  the  Public  Library  in  New  York  and  to 
Mr.  William  Clifford,  Librarian  of  the  Metropolitan  Museum,  I  am  indebted  for 
kind  assistancein  my  researches;  to  the  Metropolitan  Museum  of  Art  in  New  York, 
to  the  Museum  of  Fine  Arts  in  Boston  and  to  the  firm  of  F.  Bruckmann  in 
Munich  for  photographic  material. 

I  finally  wish  to  thank  Mr.  A.  S.  Witherspoon  of  the  DeVinne  Press,  Mr.  J.  F. 
Osbourne  of  Norman  T.  A.  Munder  &  Co.  of  Baltimore,  and  my  assistant,  Miss 
Mary  Morsell,  for  their  cooperation. 

Ripton,  Vermont 
September  J y  IQ2I 


[h] 


TABLE  OF  CONTENTS 

PAGE 

PREFACE    g 

LIST  OF  ILLUSTRATIONS   k 

INTRODUCTION   i 

Glazed  Potteries  Before  the  Sassanian  and  Early  Mohammadan  Period.  n 

The  Basis  of  Mohammadan  Art   in 

Sassanian  and  Early  Mohammadan  Pottery   iv 

Importation  and  Imitation  of  Chinese  Tang  Wares  in  the  9th  century,  vn 

Lustre  Technique  and  Its  Earliest  Specimens   ix 

Sgraffito  Technique  and  Its  Early  Specimens   x 

Diverse  Other  Late  Sassanian  and  Early  Mohammadan  Pottery  Types.  xi 

Mesopotamian  Potteries  of  the  1  2th  and  1  3th  centuries   xn 

The  Reawakening  of  the  Persian  Spirit   xiii 

Persian  Potteries  of  the  10th  and  1  ith  centuries   xiv 

Pottery  Technique  During  the  Classic  Period  in  Persia     .     .     .     .     .  xvi 

The  Rhages  Polychrome  Technique   xvni 

Miniature  Painting  and  Pottery  Decoration   xix 

Economic  Aspects   xxn 

Sultanabad  Potteries   xxiv 

Later  Evolutions  •     .     .     .  xxiv 

Pictorial  Representations  on  Rhages  Pottery   xxv 

The  Story  of  Bahram  Gur   xxxix 

Textile  Patterns  on  Mohammadan  Potteries   lxvi 

DETAILED  DESCRIPTIONS  OF  PLATES   73 

BIBLIOGRAPHY   253 

SURVEY  OF  DATES  REFERRED  TO   255 

INDEX   257 

CO 


LIST  OF  ILLUSTRATIONS 


FIGURE  PAGE 

Number  42,  Large  Pottery  Vase  with  Relief  Decoration.  Persia,  about 

1  300  A.D.  Parish- Watson  Collection  Frontispiece 

1  Sassanian  Silver  Platter.  Hermitage  Museum,  Petrograd.  After  Munich 
Mohammadan  Exhibition,  Plate  125  5 

2  Pottery  Plate  with  Sgraffito  Decoration,  late  Sassanian  or  early 
Mohammadan.  Metropolitan  Museum  of  Art,  New  York     ....  5 

3  Pottery  Bottle.  Persia,  13th  century.  Metropolitan  Museum  of  Art, 
New  York  29 

4  Detail  of  Pottery  Ev/er  Number  3  8.  Persia,  1  3th  century      ....  29 

5  Detail  of  Pottery  Ewer  Number  3  8.  Persia,  1 3th  century      .     .     .     .  31 

6  Miniature  Paintingfrom  Manuscript  of  ManafialHayawan, dated  1  295. 
Collection  of  J.  P.  Morgan,  New  York  31 

7  Rhages  Polychrome  Pottery  Bowl  with  Representation  of  Bahram  Gur 
Hunting.  Mortimer  SchifT  Collection,  New  York  41 

8  Pottery  Relief  Tile  with  Representation  of  Bahram  Gur  Hunting. 
Persia,  14th  century.  Metropolitan  Museum  of  Art,  New  York     .     .  45 

9  Rhages  Polychrome  Pottery  Bowl  with  Bahram  Gur  Hunting.  Persia, 
13th  century.  Munich  Mohammadan  Exhibition,  Plate  98     ...  45 

10  Polychrome  Pottery  Bowl.  Rhages,  13th  century.  Metropolitan 
Museum  of  Art,  New  York  51 

11  Pottery  Bowl.  Rhages,  Persia,  12th- 13th  century.  Peytel  Collection, 
Paris.  Munich  Mohammadan  Exhibition,  Plate  96  55 

12  Pottery  Bowl,  Turquoise  Glaze.  Rhages,  Persia,  12th- 13th  century. 
Metropolitan  Museum  of  Art,  New  York     .   55 

13  Relief  Tile.  Persia,  14th  century.  Metropolitan  Museum  of  Art,  New 
York  5  7 

14  Silk  Brocade,  Sassanian, 6th  century  A.D.Berlin  Kunstgewerbemuseum 
After  Falke,  "Seidenweberei,"  Figure  107  57 


LIST  OF  ILLUSTRATIONS 

FIGURE  PAGE 

15  Pottery  Ewer  with  Relief  Decoration.  Persia,  about  1  300  A. D.  Metro- 
politan Museum  of  Art,  New  York  61 

16  Textile  with  Interlaced  Diaper  Pattern.  Detail  of  Number  33     .     .  63 

17  Textile  with  Honeycomb  Diaper  Pattern.  Detail  of  Number  3  3     .     .  63 

18-22  Textile  Patterns  taken  from  Potteries  of  Parish-Watson  Collection  67 

23  Textile  Patterns  from  a  Miniature  of  the  "Treatise  on  Automata," 

about  1 180  A.  D  67 

24-25  Textile  Patterns  taken  from  Potteries  of  Parish-Watson  Collection  71 

26  Textile  Design,  taken  from  Dioscorides  Manuscript,  dated  1  2  2  2  A.  D.  71 

2  7  Textile  Design,  taken  from  Manuscript  "Treatise  on  Automata,"  about 

1 1 80  A.  D  71 

28  Number  1,  Turquoise  and  Black  Pottery  Bowl.  Raqqa,  Mesopotamia, 

1  2th- 1  3th  century  77 

Number  2,  Lustre  Pottery  Bowl  with  Neskhi  Characters.  Raqqa, 
Mesopotamia,  1  2th- 1 3th  century  77 

Number  3,  Black  and  Green  Lamp  Shaped  Pottery  Vase.  Syria,  13th- 
14th  century  77 

29  Number  4,  Turquoise  and  Black  Pottery  Bowl  with  Palmetto  Decora- 
tion. Raqqa,  Mesopotamia,  1  2th- 1  3th  century  81 

Number  5,  Turquoise  and  Black  Pottery  Ewer.  Raqqa,  Mesopotamia, 

1  2th- 1 3th  century  81 

Number  6,  Turquoise  and  Black  Arabesque  Pottery  Bowl.  Raqqa, 
Mesopotamia,  1  2th- 1  3th  century  81 

30  Number  7,  Turquoise  and  Black  Deep  Pottery  Bowl.  Raqqa, 
Mesopotamia,  1  2th- 1  3th  century  85 

Number  8,  Turquoise  and  Black  Pottery  Bottle.  Raqqa,  Mesopotamia, 

1  2th- 1  3th  century  85 

Number  9,  Turquoise  and  Black  Pottery  Dish.  Raqqa,  Mesopotamia, 

1  2th- 1  3th  century  85 

31  Number  10,  Rhages  Polychrome  Pitcher  with  Sphinx  Decoration. 
Persia,  12th- 13th  century  89 

[l] 


LIST  OF  ILLUSTRATIONS 

FIGURE  PAGE 

3  i  Number  1 1,  Rhages  Pottery  Goblet  (Polychrome  Decoration).  Persia, 

I2th-i3th  century  89 

Number  1  2,  Rhages  Pottery  Pitcher  with  Galloping  Cavaliers.  Persia, 

1  2th- 1 3th  century  89 

32  Pottery  Pitcher.  Rhages,  13th  century.  Metropolitan  Museum  of  Art, 
New  York  93 

33  Pottery  Pitcher.  Rhages,  13th  century.  Metropolitan  Museum  of  Art, 
New  York  93 

34  Number  1 3,  Rhages  Pottery  Bowl,  "The  Sultan  in  the  Garden."  Persia, 

1  2th- 1 3th  century  95 

35  Number  14,  Rhages  Pottery  Bowl  (Polychrome  Decoration).  Persia, 
I2th-i3th  century  99 

36  Number  1 5,  Rhages  Pottery  Jar  (Polychrome  Decoration).  Persia,  1  2th- 

1 3th  century  103 

3  7  Number  1 6,  Rhages  Pottery  Bowl,  "The  Entertainments  of  a  Sultan." 
Persia,  12th- 13th  century.  Formerly  in  the  Parish-Watson,  now  in 
the  Mortimer  SchifT  Collection,  New  York  107 

38  Mossoul  Bronze  Candlestick,  14th  century.  Metropolitan  Museum  of 
Art,  New  York  109 

39  Pottery  Plate.  Raqqa,  Mesopotamia,  I2th-i3th  century.  Boston 
Museum  of  Fine  Arts  109 

40  Bronze  Mirror.  Mossoul,  1 3 th  century.  After  Schulz  "Miniaturmalerei," 
Plate  G  109 

41  Number  17,  Rhages  Pottery  Bowl  (Polychrome  Decoration).  Persia, 

1  2th- 1 3th  century  111 

42  Number  1  8,  Rhages  Pottery  Bowl,  "Scenes  of  Royal  Life."  Persia,  1  2th- 

1 3th  century  117 

43  Number  19,  Rhages  Pottery  Bowl  (Polychrome  Decoration).  Persia, 
I2th-i3th  century.  Formerly  in  the  Parish-Watson,  now  in  the 
Mortimer  SchifT  Collection  121 

44  Number  20,  Rhages  Pottery  Bowl,  "The  Two  Lion  Hunters."  Persia, 

1  2th- 1 3th  century  127 

[m] 


LIST  OF  ILLUSTRATIONS 

FIGURE  PAGE 

45  Number  21,  Rhages  Pottery  Bowl,  "The  Seven  Horsemen."  Persia, 
1  2  th- 1  3  th  century.  Formerly  in  the  Parish-Watson, nowinthe  Mortimer 
Schiff  Collection,  New  York  129 

46  Number  22,  Rhages  Pottery  Bowl  (Polychrome  Decoration).  Persia, 

1  2th- 1 3th  century  135 

47  Number  23,  Rhages  Pottery  Bowl,  "The  Persian  Caravan."  Persia,  1  2th- 

1 3th  century  137 

48  Number  24,  Rhages  Pottery  Bowl  with  Delicate  Arabesque  Decoration. 
Persia,  1  2th- 1  3th  century.  Formerly  in  the  Parish-Watson,  now  in  the 
Mortimer  Schiff  Collection,  New  York  137 

49  Number  25,  Rhages  Pottery  Bowl  (Polychrome  Decoration).  Persia, 
I2th-i3th  century  141 

50  Number  26,  Rhages  Pottery  Bowl  (Polychrome  Decoration).  Persia, 
I2th-i3th  century.  Formerly  in  the  Parish-Watson,  now  in  the  Mortimer 
Schiff  Collection,  New  York  145 

5  1  Number  27,  Rhages  Pottery  Bowl  (Gilt  and  Relief  Decoration).  Persia, 

1  2th- 1 3th  century  149 

5  2  Number  2  8,  Rhages  Pottery  Bowl  (Gilt  and  Relief  Decoration).  Persia, 
I2th-i3th  century.  Formerly  in  the  Parish-Watson, now  in  the  Mortimer 
Schiff  Collection,  New  York  153 

53  Number  29,  Rhages  Pottery  Bowl  (Gilt  and  Relief  Decoration).  Persia, 

1  2th- 1  3th  century  159 

54  Number  30,  RhagesPottery  Bowl  (Polychrome  and  Relief  Decoration). 
Persia,  1  2th- 1  3th  century.  Formerly  in  the  Parish-Watson,  now  in  the 
Mortimer  Schiff  Collection,  New  York  161 

5  5  Number  3  1 ,  Rhages  Pottery  Bowl  (Polychrome  and  Relief  Decoration). 

Persia,  1  2th- 1  3th  century  165 

56  Number  32,  Rhages  Pottery  Jar  (Polychrome  and  Relief  Decoration). 
Persia,  12th- 13th  century.  Formerly  in  the  Parish-Watson,  now  in 

the  John  N.  Willys  Collection,  Toledo,  Ohio  169 

57  Number  33,  Rhages  Pottery  Bowl, "A  Musical  Entertainment."  Persia, 
I2th-i3th  century.  Formerly  in  the  Parish-Watson,  now  in  the 
Mortimer  Schiff  Collection,  New  York   173 

[n] 


LIST  OF  ILLUSTRATIONS 

FIGURE  PAGE 

5  8  Number  3  4,  Rhages  Pottery  Bowl,  "A  Falconer  on  Horseback."  Persia, 
I2th-i3th  century.  Formerly  in  the  Parish-Watson,  now  in  the  Mortimer 
Schiff  Collection,  New  York  .     .     .  177 

59  Number  35,  Rhages  Pottery  Bottle  (Polychrome  and  Relief  Decora- 
tion). Persia,  1  2th- 1  3th  century   181 

60  Number  36,  Rhages  Pottery  Pitcher  (Relief  Decoration).  Persia,  1  2th- 
13th  century  185 

61  Pottery  Pitcher,  Enameled  on  Biscuit.  Rhages,  12th- 13th  century. 
Metropolitan  Museum  of  Art,  New  York  189 

62  Number  37,  Pottery  Ewer  with  Relief  Decoration.  Persia,  13th 
century  191 

63  Mossoul  Bronze  Ewer.  Upper  Mesopotamia,  1  2th- 1  3th  century.  For- 
merly Homberg  Collection,  Paris,  now  Metropolitan  Museum  of  Art, 
New  York  195 

64  Mossoul  Bronze  Ewer.  Upper  Mesopotamia,  1  ith-i2th  century.  Sarre 
Collection,  Berlin.  After  Munich  Mohammadan  Exhibition,  Plate  141  195 

65  Number  38,  Pottery  Bottle  with  Relief  Decoration.  Persia,  late  13  th 
century  197 

66  Number  39,  Pottery  Bottle  (Relief  Decoration).  Persia,  13th 
century  201 

67  Number  40,  Pottery  Vase  (Relief  Decoration).  Persia,  early  14th 
century  205 

68  Number  41,  Large  Pottery  Vase  (Relief  Decoration).  Persia,  13th 
century.  Formerly  in  the  Parish-Watson,  now  in  the  John  N.  Willys 
Collection,  Toledo,  Ohio  209 

69  Pottery  Bottle  with  Relief  and  Polychrome  Decoration.  Rhages,  Persia, 
I2th-i3th  century.  Rosenberg  Collection,  Paris.  After  Munich 
Mohammadan  Exhibition,  Plate  98  213 

70  Large  Pottery  Vase  with  Relief  Decoration.  Persia,  1 3th  century.  Kaiser- 
Friedrich  Museum,  Berlin.  After  Munich  Mohammadan  Exhibition, 
Plate  106  213 

71  Number  42,  Large  Relief  Pottery  Vase.  Persia,  about  1 300  A.  D.  .  .  215 
72-73  Different  Views  of  Number  42  217-219 

Co] 


LIST  OF  ILLUSTRATIONS 

FIGURE  PAGE 

74  Large  Pottery  Lustre  Vase.  Persia,  early  14th  century.  Basilewski  Col- 
lection, now  Hermitage,  Petrograd.  After  F.  R.  Martin,"The  Basilewski 
Vase  in  St.  Petersburg,"  1899  221 

75-83  Details  of  Vase  Number  42  223-225-227-229-231 

84  Detail  of  Bronze  Basin,  Frieze  of  Polo  Players.  Syria,  1  239-1  249  A.  D. 
Collection  of  Prince  Arenberg,  Brussels.  After  Munich  Mohammadan 
Exhibition,  Plate  147  231 

85-87  Details  of  Vase  Number  42   233~235 

8  8  Number  43,  Rhages  Pottery  Bowl  (Lustre  Decoration).  Persia,  13th 

century  239 

89  Number  44,  Rhages  Pottery  Bowl  Painted  in  Muffle  Colors.  Persia, 

1  2th- 1  3th  century  239 

90  Number  45,  Rhages  Pottery  Ewer.  Persia,  13th  century     ....  241 

91  Number  46,  Sultanabad  Pottery  Bottle.  Persia,  13th- 14th  century   .  245 

92  Pottery  Bowl.  Sultanabad,  Persia,  14th  century.  Jacques  Doucet 
Collection,  Paris.  After  Munich  Mohammadan  Exhibition,  Plate  103  .  245 

93  Number  47,  Sultanabad  Pottery  Bowl.  Persia,  I3th-i4th  century     .  245 

94  Number  48,  Glass  Bottle  with  Enamel  Decoration.  Egypt  or  Syria, 

1  3th- 1 4th  century  249 


INTRODUCTION 


PERCEPTION 

IN  the  primitive  stages  of  mankind  the  making  of  pottery  responds  to  a  necessity 
out  of  which  beauty  grows  unconsciously  under  the  creating  hand  of  the  crafts- 
man. Beauty  is  perceived  by  all  the  senses.  It  emanates  not  merely  from  color 
and  plastic  form,  but  also  from  weight,  density  and  temperature. 

The  Greeks  developed  pottery  expressing  harmonious  movement,  classic  pro- 
portion and  quiet  beauty.  But  the  decoration  of  their  pottery  is  not  born  out 
of  the  spirit  of  pottery  making;  it  is  drawing  and  painting  of  a  most  refined  char- 
acter on  ceramic  material  instead  of  on  papyrus  or  on  a  wooden  panel.  From  the 
technical  standpoint  of  the  potter,  they  never  went  beyond  the  stage  of  well 
executed  earthenware. 

Quite  different  from  them  are  the  Chinese.  They  appreciate  beauty  of  line  with 
the  sliding  finger,  not  with  the  eye.  Their  sensitive  touch  developed  at  an  early 
period  an  extraordinary  refinement  in  the  appreciation  of  different  textures  and 
smooth  surfaces.  They  have  always  been  haunted  by  the  desire  to  create  by  the 
hand  of  man  materials  as  dense,  as  compact  and  of  the  same  shimmering  translu- 
cency  as  those  boulders  of  jade  which  were  fused  together  in  the  kilns  of  nature, 
in  the  intense  heat  and  pressure  of  volcanic  convulsions. 

The  Chinese  were  the  first  to  produce  wares  with  vitrified  bodies  in  which  the 
molecules  are  melted  into  compact  union;  they  succeeded  in  filtering  light 
through  the  dense  opacity  of  their  stonewares  and  in  the  course  of  several  cen- 
turies they  gradually  achieved  the  soft  translucency  of  kaolinic  porcelain. 

Mohammadan  potteries  are  entirely  different  from  both  the  Greek  and  the 
Chinese.  They  seldom  surprise  by  beauty  of  line  or  perfection  of  material;  their 
sandy  pastes  and  glazed  earthenwares  are  very  brittle,  poor  and  fragile.  And  yet 
Mohammadan  pottery  is  an  achievement  as  high  as  any  in  the  history  of  ceramics. 

What  is  the  basis  of  its  beauty?  It  is  color — color,  in  the  widest  sense  of  the 
word;  color  produced  notonly  by  glazes — deep  cobalt  blue,  rich  turquoise,intense 
manganese  purple  and  the  opalescent  and  light  greenish  hues  of  creamy  white; 
color,  in  endless  variety,  produced  by  the  play  of  light  and  shade  over  the  appear- 
ance of  things. 

A  French  sculptor  has  said  that  sculpture  is  the  art  of  creating  light  and  shadow. 
One  might  call  pottery,  as  conceived  by  the  Mohammadans,  the  art  of  creating 

[i] 


INTRODUCTION 


color  through  form.  The  potters  of  Islam  produced  many  wares  with  relief  deco- 
ration. The  relief  in  itself  may  be  coarse  and,  when  moulded,  somewhat  mechan- 
ical, but  by  the  play  of  light  and  shadow  which  it  creates,  and  by  the  hazard  of  the 
glaze  running  sometimes  thick,  sometimes  thin,  plain  color  is  transformed  into 
multitudinous  hues  and  shades,  so  rich  that  they  have  never  been  excelled,  even 
by  the  Chinese.  This  modeling  in  color,  so  to  speak,  gives  a  new  meaning  to  plas- 
tic decoration  and  lends  even  to  plain  potteries  a  suggestion  of  plastic  variety 
which  in  reality  is  not  there.  And,  strange  to  say,  without  the  brittleness  of  the 
wares,  such  beauty  of  color  would  have  been  impossible.  The  beauty  of  the  wing 
of  a  butterfly  cannot  be  produced  in  a  solid  material  defying  the  centuries;  in 
both  cases  the  fragility  of  the  material  is  essential  to  beauty. 

Mohammadan  pottery  is  not  a  thing  concretely  permanent  like  sculpture  or 
architecture.  Itis  like  music  or  poetry;  it  is  an  expression  of  moods  and  it  expresses 
them  through  color.  Form,  light  and  color  help  to  diversify  the  expression,  as  do 
words,  rhythm  and  sound  in  poetry  and  music. 

An  intense  sensuousness  lives  in  the  Mohammadan  potteries.  The  beauty  of 
Chinese  jades,  stonewares  and  porcelains  is  abstract  and  eternal.  The  fragility  of 
the  Mohammadan  wares  suggests  the  passing  of  all  things,  and  in  their  endless 
variety  of  appearance,  with  the  changing  light  of  day  playing  over  their  porous, 
irregular  and  softly  shimmering  surface,  the  creative  abundance  of  life  mani- 
fests itself.  They  seem  to  be  alive,  and  we  hesitate  to  touch  their  frail  beauty  with 
our  hands. 

GLAZED  POTTERIES  BEFORE  THE  S ASS ANI AN 
AND  EARLY  MOHAMMADAN  PERIOD 

THE  Mohammadan  potteries  are  a  link  in  the  chain  of  a  long  evolution.  The 
art  of  beautifying  ceramic  wares  by  covering  them  with  a  colored  glaze  was 
first  known  in  Egypt.  It  grew  naturally  out  of  glass  making;  for  modeling  a  glass 
vase  over  a  core  of  unbaked  clay  and  melting  a  coat  of  glaze  over  a  wheel-shaped 
pottery  vase  in  the  fire  of  the  kiln  are  two  very  similar  operations.  The  deep  blue 
copper  glaze  was  already  widely  known  in  Egypt  under  the  twelfth  dynasty 
(Middle  Kingdom),  and  other  colors  such  as  manganese  purple,  a  deep  lacquer  red, 
an  intense  yellow  and  delicate  shades  of  green  were  added  gradually  during  the 
eighteenth  dynasty  (New  Kingdom,  sixteenth  to  fourteenth  century  B.  C).  This 
native  Egyptian  technique,  which  very  often  throws  over  a  body  of  refined  lines 
a  garment  of  intense  color,is  carried  on  down  to  the  Greek  conquest  (331  B.  C), 
when  Greek  shapes  become  predominant.  At  the  period  of  the  Roman  Empire 
the  Egyptians  made  of  sandy  paste,  with  deep  turquoise  and  aubergine  glazes, 


INTRODUCTION 


potteries  which  are  coarsely  modeled  but  picturesquely  emphasize  volume  by 
light  and  shadow,  and  thus  bear  a  certain  resemblance  in  spirit  to  the  later 
Mohammadan  wares. 

In  Mesopotamia  glazed  pottery  was  not  only  used  for  vases  but  still  more  exten- 
sively for  wall  decorations.  The  Assyrian  polychrome  reliefs  of  the  seventh  century 
B.  C.  in  Nineveh,  and  the  Persian  enameled  friezes  from  Susa,  made  at  the  time 
of  Darius  under  Assyrian  influence,  show  the  adoption  of  Egyptian  techniques  in 
Mesopotamia  and  Persia. 

At  the  time  of  the  Roman  Empire  there  was  made  throughout  the  Eastern  prov- 
inces,glazed  pottery  based  on  Oriental  techniques  but  adopting  more  or  less  Greco- 
Roman  shapes.  There  survive  first,  a  well  defined  group  of  bowls,  generally  with 
olive  green  glaze  outside  and  green  or  yellow  glaze  inside.  They  are  in  the  shape 
of  Greco-Roman  cups  with  two  handles  and  are  decorated  with  delicate  floral  or 
figural  reliefs.  It  is  impossible  to  say  in  exactly  what  part  of  the  Roman  Empire 
these  delicate  vases  were  made,  but  their  Oriental  technique  suggests  Eastern  or- 
igin. Then  we  have  a  group  of  vases  covered  with  deep  greenish  or  turquoise  glaze. 
They,  too,  are  of  Greco- Roman  form — ovoid  bodies  with  tall  necks  and  straight 
handles  sometimes  decorated  with  classic  angels'  heads.  They  have  been  found 
not  only  in  Roman  lands,  in  Syria  and  Assyria,  but  also  on  Parthian  territory,  and 
are  closely  related  in  their  technique  to  the  shoe-shaped  sarcophagi  covered 
with  the  same  green  glaze,  which  have  been  discovered  in  Babylonia. 

Other  Parthian  potteries  have  been  identified  and  reproduced  by  Maurice 
Pezard,  "La  Ceramique  Archaique  de  l'lslam  et  ses  Origines"  (Plates  2,  3, 4, 1  50 
and  151).  They  are  covered  with  green  or  blue  enamel  and  some  of  them  have 
under  the  glaze  engraved  and  relief  decoration  of  a  very  simple  and  primitive 
style.  That  Roman  and  Parthian  glazed  potteries  have  evolved  on  somewhat 
similar  lines  is  not  surprising  when  we  consider  that  they  go  back  to  the  same  Old 
Oriental  source. 

THE  BASIS  OF  MOHAMMADAN  ART 

THE  genesis  of  Mohammadan  art  is  psychologically  one  of  the  most  interest- 
ing chapters  in  the  history  of  art. 
When  it  was  first  studied,  its  style  of  arabesque  decoration,  its  geometrical  inter- 
lacing, its  conception  of  color,  seemed  to  be  entirely  new  and  original.  Greater 
acquaintance  with  early  Mohammadan  works  has  changed  this  viewpoint  entirely. 

The  increase  of  the  empire  of  Islam  is  amazing  in  its  rapidity.  The  hegemony 
of  the  Near  East  was  for  centuries  contested  by  two  important  powers  —  the 
Roman  and  the  Sassanian  Empires.  Their  equal  skill  in  the  arts  of  warfare  and 

[in] 


INTRODUCTION 


fortification  maintained  the  balance  of  power.  Suddenly  the  youthful  energy  of 
the  Arabs  attacked  these  two  great  military  systems  and  within  ten  years  the 
Persian  Empire  was  annihilated  and  the  Roman  Empire  had  lost  two  of  its  fore- 
most provinces,  Syria  and  Egypt. 

Destruction  must  be  followed  by  reconstruction.  For  the  building  up  and 
administration  of  their  newly  gained  empire  the  Arabs  had  to  rely  on  the  admin- 
istrative staff*  of  their  predecessors.  We  are  well  informed  about  the  civil  admin- 
istration of  Egypt  under  Roman  and  Mohammadan  rule.  We  know  that  few 
changes  occurred;  the  very  same  petty  officials  extorted  the  same  taxes  from  the 
people,  but  what  was  formerly  delivered  to  the  Emperor  at  Constantinople  now 
flowed  into  the  treasury  of  the  Caliph  of  Damascus. 

It  is  somewhat  symbolical  that  the  earliest  monuments  of  Islam  are  supported 
by  Greek  and  Roman  columns  and  capitals.  The  maze  of  geometrical  interlac- 
ings  which  soon  covered  the  doors  of  wood  and  ivory,  the  first  pages  of  manu- 
scripts and  the  gold  and  silver  inlaid  metal  work,  was  forestalled  in  Greco-Roman 
mosaics  and  textiles.  The  tendrils,  leaves  and  huge  flowers  of  the  arabesques  that 
wind  in  and  out  over  the  walls  of  the  mosques  and  palaces  are  an  outgrowth  of 
the  Hellenistic  and  Roman  acanthus  ornamentation.  The  fresco  paintings  in  the 
castle  of  Quseir  Amra,  near  the  Dead  Sea,  show  clearly  an  absolute  predomination 
of  Greco-Roman  or  Byzantine  style,  in  the  Mohammadan  Empire  of  the  first  half 
of  the  eighth  century. 

The  second  source  of  inspiration  for  Mohammadan  art  was  the  art  of  the  Sassa- 
nians.  Sassanian  domes  and  vaults  survive  in  the  architecture  of  Persia.  The  famous 
silver  platters,  the  powerful  jugs  and  platters  in  bronze  that  have  come  down  to 
us  from  the  old  Sassanian  Kingdom  also  find  an  echo  in  Mohammadan  decora- 
tive art.  There  is  a  continuous  evolution  from  Sassanian  to  early  Mohammadan 
textile  patterns,  and  in  the  field  of  pottery  the  transition  from  Sassanian  to  early 
Mohammadan  wares  is  gradual  and  practically  unnoticeable. 

SASSANIAN  AND  EARLY  MOHAMMADAN  POTTERY 

SASSANIAN  pottery  is  pottery  made  in  Persia  and  Mesopotamia  between 
226  and  641  A.  D.  Early  Mohammadan  pottery  is  pottery  made  in  Persia, 
Turkestan,  Mesopotamia  and  Egypt  from  the  seventh  to  the  tenth  century.  There 
is  no  strict  line  of  demarcation  between  these  wares.  Very  little  was  known  about 
them  until  a  few  years  ago.  In  Egypt  there  had  been  discovered  scattered  pieces 
(See  Munich  Mohammadan  Exhibition,  Plates  81,91,92)  which  evidently  were 
of  a  much  earlier  period  than  the  Raqqa  and  Rhages  potteries  of  the  twelfth  and 
thirteenth  centuries.  But  the  first  discoveries  made  with  scientific  methods  were 

Civ] 


Fig.  i.  Sassanian  Silver  Platter.  Hermitage  Museum,  Petrograd. 


Fig.  i.  Pottery  Plate  with  Sgraffito  Decoration,  7th  century. 
Metropolitan  Museum  of  Art,  New  York. 


INTRODUCTION 


the  result  ofthe  excavations  by  F.Sarre  and  E.  Herzfeld  inSamarra,  Mesopotamia. 
These  discoveries  opened  up  an  entirely  new  chapter  of  the  history  of  Oriental 
ceramics. 

The  city  of  Samarra  was  the  residence  of  the  Caliphs  from  838  A.D.to  883  A.D. 
but  it  still  flourished  during  the  tenth  century.  The  types  of  pottery  discovered 
in  Samarra  must  therefore  be  assigned  to  the  ninth  and  tenth  centuries,  as  must 
the  wares  of  identical  type  discovered  in  Persia. 

The  Samarra  excavations  were  followed  a  few  years  later  by  the  discovery  in 
Persia,  particularly  in  Rhages,  Susa  and  the  Demavend,  of  a  great  number  of 
primitive  potteries,  which  were  of  the  Samarra  period  and  earlier.  With  the  excep- 
tion of  the  excavations  carried  on  by  M.  Dieulafoy  and  J.  de  Morgan  in  Susa,  these 
searches  were  made  without  scientific  control.  The  potteries  found  were  said  to 
have  been  taken  from  much  deeper  strata  than  the  wares  of  the  twelfth  and  thir- 
teenth centuries.  The  statement  of  the  Persian  dealers  that  such  potteries  are  of 
the  "Guebri"  period,  the  era  of  the  fire-worshippers,  is  indeed  corroborated  by 
details  of  the  wares. 

A  considerable  number  of  these  early  potteries  is  now  in  the  hands  of  dealers 
and  collectors,  particularly  in  France.  Maurice  Pezard's  very  important  publica- 
tion previously  referred  to,  deals  exhaustively  with  this  new  field  of  art.  This  pub- 
lication reproduces  about  four  hundred  specimens.  It,  therefore,  provides  an 
almost  exhaustive  survey  of  the  existing  material,  on  the  evidence  of  which  Pezai  d 
has  constructed  a  historic  classification  of  the  Sassanian  and  early  Mohammadan 
wares,  which  is  convincing  in  its  broader  outline. 

He  shows  that  some  specimens  are  decorated  with  Sassanian  motives  and  Sassa- 
nian details  of  ornamentation,  which  would  be  impossible  after  the  Mohammadan 
conquest.  The  wares  discovered  in  Persia  cover  a  wider  range  than  the  discoveries 
in  Samarra.  Besides  scarce  Achaemenid  and  Parthian  examples,  we  have  now, 
thanks  to  Pezard,  a  clear  picture  of  Persian  pottery  from  the  Sassanian  period 
down  through  the  twelfth  century.  This  new  material  is  interesting  for  the  sake 
of  its  beauty  and  for  the  sake  of  what  i  t  contributes  not  only  to  the  history  of  art, 
but  to  the  history  of  Eastern  civilization. 

THE  IMPORTATION  AND  IMITATION  OF  CHINESE  TANG 
WARES  IN  THE  NINTH  CENTURY 

THE  importation  into  Persia  and  subsequent  imitation  of  Chinese  Tang  wares 
in  the  ninth  century  is  now  an  established  fact.  This  discovery  has  been  pub- 
lished by  Sarre  in  his  article  "Die  Kleinfunde  von  Samarra",  Der  Islam^  Vol.  V, 
1 9 14  and  in  the  Bulletins  ofthe  Berlin  Museum  XXXIV,  page  72,  191  3.  These 

[vii] 


INTRODUCTION 


articles  ought  to  be  the  basis  of  any  discussion  of  Chinese  influence  on  early  Persian 
potteries.  However,  they  have  unfortunately  been  overlooked  by  Pezard  in  his 
otherwise  remarkable  discussion  of  this  interesting  problem. 

Sarre's  excavations  furnished  the  first  definite  proof  of  the  importation  of 
Chinese  wares  into  the  Near  East.  He  discovered  in  Samarra,  among  the  potteries 
of  Near  Eastern  origin,  fragments  of  Chinese  white  Tang  porcelain  with  relief 
decoration  and  numerous  specimens  of  a  coarse  Chinese  celadon,  both  porcelain 
and  stoneware.  Fragments  of  the  well  known  mottled  Chinese  Tang  potteries 
were  also  found  along  with  the  other  Chinese  specimens.  As  neither  porcelain  nor 
stoneware  were  ever  produced  in  the  Near  East  during  the  Middle  Ages,  no  doubt 
can  exist  about  the  Chinese  origin  of  these  pieces.  Some  of  these  fragments  are 
nowin  the  Kaiser  Friedrich  Museumin  Berlin.  All  the  important  specimens,  how- 
ever, were  deposited  in  the  Museum  in  Constantinople. 

Sarre's  discovery  is  one  of  the  most  important  contributions  to  the  history  of  the 
trade  of  the  ninth  and  tenth  centuries.  It  proves  that  Chinese  wares  were  imported 
into  the  Near  East,  as  the  textiles  and  glasswares  in  the  treasure  house,  Shosoin, 
in  Nara,  Japan,  prove  that  Near  Eastern  wares  were  exported  to  China. 

Numerous  Mohammadan  specimens  of  the  seventh  to  ninth  centuries,found  at 
Samarra,  show  evidence  of  the  influence  of  these  Chinese  importations.  Coarse 
Near  Eastern  imitations  of  Chinese  celadon  made  in  earthenware  and  Mohamma- 
dan pottery  with  relief  decoration  that  is  almost  Chinese  in  feeling,  show  that  the 
native  potters  did  not  scorn  to  learn  from  the  foreign  wares  brought  in  by  the 
traders.  (See  Pezard,  Plate  90B  and  also  one  fine  small  bowl  at  the  Metropolitan 
Museum  of  Art,  New  York.)  But  much  more  unmistakable  is  the  imitation  of 
Chinese  pottery  of  the  types  with  mottled  or  running  green  and  Vandyck  brown 
glazes  on  cream  white  and  with  mottled  cobalt  blue  and  Vandyck  brown  glazes 
on  cream  white.  Pezard,  (Plates  31,32,33,  34,  35,36)  shows  excellent  specimens 
of  the  first  group.  One  large  dish  which  he  reproduces  (Number  34B)  may  now 
be  seen  in  the  Cleveland  Museum  of  Art.  It  is  a  most  characteristic  specimen. 
Chinese  inspiration  may  also  be  felt  in  the  plate  reproduced  by  Pezard  on  Plate 
103,  which  is  decorated  in  cobalt  blue  and  green  on  white.  The  leaf  design  and 
the  running  green  and  blue  glaze,  which  is  also  found  on  two  other  specimens 
(Plates  104  A  and  105),  is  certainly  an  echo  of  the  Chinese.  A  fine  specimen  of 
this  type  is  in  the  Cleveland  Museum. 

This  contact  between  the  Near  East  and  the  Far  East  is  not  so  surprising  as  it 
seems  at  the  first  glance.  The  Mohammadan  conquerors  reached  the  border  of 
the  Chinese  Empire  early  in  the  eighth  century  and  the  traders  in  silk  and  other 
commodities  maintained  for  centuries  an  intense  traffic  between  the  Mediterra- 

[vin] 


INTRODUCTION 


nean  and  Chinese  Turkestan.  We  also  know  that  Chinese  trading  vessels  reached 
the  Persian  gulf  in  the  early  Mohammadan  period.  Chinese  annalists  report  that 
the  Chinese  trading  vessels  during  the  seventh  and  eighth  centuries  used  to  anchor 
at  Siraf  in  Farsistan.  (Details  in  Dr.  Wilhelm  Heyd,  "Geschichte  des  Levante- 
handels  im  Mittelalter,"  Vol.  I,  pages  33,  34.) 

LUSTRE  TECHNIQUE  AND  ITS  EARLIEST  SPECIMENS 

1USTRE  is  an  attempt  to  produce  the  effect  of  gold  and  silver  on  glass  and 
-i  pottery.  It  is  an  overglaze,  fired  on  in  the  muffle  kiln  and  produced  by  silver, 
copper  and  manganese  compounds. 

The  layman  often  confuses  this  type  of  decoration  with  iridescence,  which  is  a 
beautiful  shimmering  decomposition  of  glasses  and  glazes  under  the  influence  of 
the  humidity  of  the  soil  in  which  it  has  long  been  buried,  or  with  opalesence,  which 
is  sometimes  accidental,  the  result  of  burial,  and  sometimes  intentional,  the  result 
of  firing,  as  on  the  famous  "Bukalemon"  glass  or  on  the  "Tiffany"  glass.  The 
Sassanian  and  early  Mohammadan  clay  potteries  are  often  sheened  with  an  opales- 
cence that  must  be  put  down  as  accidental,  for  artificial  opalescence  is  always 
destroyed  by  age. 

The  origin  of  lustre  pottery  has  long  been  a  subject  of  debate.  A  primitive  type 
of  lustre  ware,  discovered  practically  in  all  countries  of  Islam,  was  considered  as 
the  earliest  form  of  this  technique.  Such  wares,  characterized  by  their  bold,  prim- 
itive design  and  by  the  combination  of  olive  brown  with  dark  brown  lustre,  have 
been  found  in  Persia;  in  Upper  Egypt  at  Bennese;  in  Lower  Egypt  in  Kus,  near 
Luxor;  in  the  Quaia  of  the  Beni  Hammad  in  Algeria;  in  Djerablus  on  the  Euphrates 
by  an  English  expedition;  in  Medinet  ez  Zarah  in  Spain,  the  residence  of  the 
Omayade  Caliphs  of  Cordova,  which  was  founded  in  936  A. D.  by  Abd  er  Rahman 
III,  and  destroyed  1010  A.D.(all  these  finds  are  discussed  by  Migeon,  "Notes 
d'Archeologie  Musulmane,"  Gazette  des  Beaux  Arts,  1 9 1  3,  page  48  1,  and  by  Bal- 
lardini,  Burlington  Magazine,  XXXII,  page  130).  A  particularly  fine  specimen 
of  this  early  lustre  ware  is  in  the  Gunsaulus  Collection  in  the  Art  Institute, 
Chicago,  and  an  excellent  piece  of  ruby  lustre  of  the  Samarra  type  is  owned  by 
Mrs.  Henry  B.  McCormick  in  Harrisburg,  Pa.  However,  the  most  discussed 
specimens  are  the  tiles  in  the  mosque  Sidi  Okba  in  Kairouan,  Tunisia,  which, 
according  to  an  old  tradition,  were  imported  towards  the  end  of  the  ninth  cen- 
tury from  Mesopotamia. 

All  these  specimens  correspond  in  design,  material  and  technique  with  the  nu- 
merous archaic  specimens  discovered  by  Sarre  in  Samarra  and  by  Morgan  and  others 
in  Persia.  The  decoration  of  these  "Samarra"  lustre  wares  shows  not  only  bold  ara- 

[IX] 


INTRODUCTION 


besque  patterns  and  inscriptions,but  also  numerous  figural  representations,animal 
as  well  as  human,  which  have  a  wonderful  simplicity  of  design  and  give  us  an  idea 
of  what  Sassanian  and  early  Mohammadan  miniature  painting  must  have  been. 

Pezard  has  added  a  new  and  startling  chapter  to  the  history  of  lustre  by  group- 
ing together  another  still  earlier  series  of  wares.  He  reproduces  them  on  Plates  i  o 
B,  i  2C  and  1  2D;  on  page  43  he  furnishes  the  convincing  proof  that  these  frag- 
ments with  lustre  decoration  and  other  specimens  without  lustre,  but  of  the  same 
type  of  decoration,  are  Sassanian,  and  probably  of  the  seventh  century.  All  these 
pieces  have  been  discovered  by  J.  de  Morgan  and  M.  Dieulafoy  on  the  site  of  Susa, 
Persia;  only  one  has  been  discovered  at  Fostat, Egypt,  the  one  nowin  the  Fouquet 
Collection  in  Cairo.  This  latter  piece,  classified  by  Henri  Riviere  in  his  "Cera- 
mique  dans  1' Art  Musulman"  (Plate  2  3)  as  Egyptian  of  the  ninth  and  tenth  cen- 
turies, has  always  appeared  to  us  as  late  Egypto-Roman.  Pezard  convincingly 
assigns  this  entire  group  to  the  Sassanian  period  and  concludes  that  lustre  is  a 
Sassanian  invention,  known  at  least  in  the  seventh  century  in  Persia.  Some  day 
contemporaneous  or  earlier  lustre  painting  on  pottery  or  glass  may  be  discovered 
in  Egypt.  But  until  this  happens  Pezard  is  justified  in  assuming  Sassanian  origin 
for  this  technique. 

Sassanian  lustres  are  green,  gold  and  copper  colored.  The  Early  Mohammadan 
"Samarra"  type  shows,  as  was  already  mentioned,  a  much  richer  scale  of  color, 
including  manganese  purple,  olive  brown  and  ruby  red.  From  the  Samarra  period 
down  to  the  fourteenth  century,  purple-brown  and  golden  lustres  are  extremely 
frequent  in  the  Rhages,  Veramin  and  Sultanabad  potteries.  During  the  end  of 
the  fourteenth  and  during  the  fifteenth  century  the  technique  seems  to  have  been 
very  little  used  in  Persia.  It  remains  unknown  to  the  Turkish  potters  of  the  six- 
teenth century,  but  it  is  revived  in  the  Persian  wares  of  the  Sefevi  Renaissance  in 
the  sixteenth  century.  Lustre  ware  was  known  in  Spain  as  early  as  the  tenth  cen- 
tury. It  attained  a  wonderful  development  in  that  country  and  in  the  fifteenth 
and  sixteenth  centuries  inspired  the  ceramists  of  Italy,  who  again  produced  the 
fiery  ruby  lustre. 

Lustre  technique  is  an  essentially  Mohammadan  technique.  It  never  became 
known  to  the  Chinese  and  whenever  it  is  found  among  the  European  nations, 
it  is  a  sure  sign  of  contact  with  Mohammadan  art. 

SGRAFFITO  TECHNIQUE  AND  ITS  EARLY  SPECIMENS 

SGRAFFITO  means  "scraping  away."  A  ceramic  body  of  coarse  grayish  or 
yellowish  color  is  covered  before  the  firing  with  a  coat  of  very  fine  white  pipe 
clay.  A  design  is  scraped  into  this  slip  with  a  wooden  stick,  thus  laying  bare  the 

[x] 


INTRODUCTION 


coarser  and  darker  background.  The  contrast  of  light  and  dark  is  intensified  later 
by  coating  the  object  with  a  translucent  white,  bottle  green  or  yellowish  glaze. 
Specimens  of  the  late  Sassanian  and  early  Mohammadan  period  in  this  technique 
are  represented  by  Pezard  (Plates  i  3-25,  2  8-30,  3  7-49,  52-82),  and  are  found  at 
the  Metropolitan  Museum  in  New  York  and  in  the  Fogg  Museum  in  Cambridge. 

The  late  Sassanian  and  early  Mohammadan  potters  of  the  seventh  and  eighth 
centuries  were  content  with  incising  a  mere  outline  in  following  this  technique, 
but  the  potters  of  the  eighth  and  ninth  centuries  carried  the  scraping  away  pro- 
cess further  and  laid  bare  large  surfaces  of  the  coarse  background,  which  they  some- 
times filled  with  manganese  purple-brown  in  order  to  intensify  the  color  contrast. 
Frequently  they  created  a  further  variety  of  color  by  adding  splashes  of  green 
enamel-to  the  translucent  glaze. 

The  patterns  on  sgraffito  wares  show  birds,  rampant  animals,  interlaced  circu- 
lar motives,  rows  of  palmetto  leaves,  undulated  stems  and  interlaced  bands— all 
of  great  simplicity  in  the  early  period.  Even  the  altar  of  the  fire  worshipper  and 
the  old  Sassanian  motif  of  a  "Ganymede"  carried  into  the  air  by  an  eagle  occur. 
Among  later  pieces,  dating  from  the  eighth  to  the  tenth  century,  are  handsome  spec- 
imens with  green  glaze,  beautiful  Cufic  lettering,  birds,  rampant  animals,  fight- 
ing bulls  and  lions,  strange  warriors  and  hunters  on  horseback,  standing  effect- 
ively in  green  or  pale  white  against  the  dark  purple-brown  or  purple-black 
background.  The  extraordinary  plate  at  the  Metropolitan  Museum  of  Art  (Fig. 
2)  is  a  very  good  representative  of  this  technique  from  the  eighth  century. 

We  do  not  know  whether  this  technique  is  a  Sassanian  invention.  Its  origins  are 
probably  earlier.  It  is  extremely  common  among  the  mediaeval  Syro-Egyptian 
potteries.  There  have  been  found  at  Fostat  thousands  of  sgraffito  fragments  with 
translucent  white,  yellowish  or  bottle  green  glaze,  which  seem  to  date  from  the 
seventh  to  the  eleventh  and  twelfth  centuries.  Many  of  the  early  mediaeval  By- 
zantine wares  discovered  in  Cyprus,  Constantinople,  Southern  Italy  and  Crimea 
are  ornamented  in  sgraffito.  An  interesting  and  colorful  revival  of  this  technique 
occurred  in  the  twelfth  and  thirteenth  centuries  (See  page  LXXI). 

DIVERSE  OTHER  LATE  SASSANIAN  AND  EARLY 
MOHAMMADAN  POTTERY  TYPES 

THE  early  potters  of  the  Near  East  worked  out  a  variety  of  other  techniques  in 
addition  to  those  mentioned.  There  are  strange  vases  with  figural  decoration, 
clearly  of  Sassanian  origin  and  of  very  surprising  shapes,  reminiscent  of  the  late 
Ming  gallipots  (Pezard,  Plate  6).  Unglazed  potteries  with  small,  stamped  all-over 
decoration,  so  frequent  in  the  eleventh  and  twelfth  centuries,  were  also  made 

Cxi] 


INTRODUCTION 


in  Sassanian  times  (Pezard,  Plate  10),  as  were  wares  with  moulded  decoration 
under  green  and  yellow  glaze.  Tiles  of  brilliant  turquoise  and  white  enamel,  or 
with  black  painted  decoration  on  turquoise  blue,  are  among  the  greatest  rarities 
(Pezard,  Plates  8  and  50).  More  frequent  are  designs  painted  in  cobalt  blue, green 
and  manganese  brown  enamels,  mainly  on  cream  white  (Pezard  Plates  102-109). 

But  among  all  these  there  are  two  types  that  are  particularly  worth  mentioning. 
The  first,  discovered  mainly  in  Hamadan  and  Zendjan,  is  an  outgrowth  of  the 
sgraffito  decoration  (Pezard,  Plates  77-82).  On  large  bowls  and  platters  animals 
are  pictured  against  a  background  of  spiral  scrolls.  The  outline  of  the  design  is 
in  sgraffito,  but  animals  and  floral  motives  stand  out  against  the  cream  white 
background  in  a  covering  of  manganese  purple,  green  and  yellowish  brown.  These 
specimens  excel  in  the  power  and  simplicity  of  their  design. 

Specimens  of  the  second  type  were  discovered  in  Rhages.  They  show  decoration 
boldly  incised  into  the  soft  clay  and  heightened  with  enamels  of  various  colors, 
generally  on  a  background  of  cream  white.  Several  of  them  are  decorated  with 
walking  birds,  like  those  of  the  Sassanian  and  early  Mohammadan  textiles.  The 
most  famous  piece  is  a  plate  with  a  large  heraldic  eagle,  formerly  in  the  Vignier 
Collection  in  Paris,  now  in  the  Kaiser  Friedrich  Museum  in  Berlin  (Riviere,  Plate 
63;  Pezard,  Plate  83).  One  fragment  of  a  plate  is  known,  showing  a  sultan  and  his 
retainers. 

This  incised  technique  is  very  early.  It  occurs  on  a  jar  discovered  in  Susa,  now 
in  the  Louvre  Museum(Pezard,  Plate  9).  Thisjar  shows  a  bold  decoration  of  birds, 
but  it  is  covered  with  a  uniform  turquoise  green  glaze.  In  the  specimens  of  the 
eighth  and  ninth  centuries,  birds  and  flowers  are  decorated  with  various  beautifully 
mellow  enamels — manganese  purple,  turquoise,  yellow,  cobalt  blue  and  green. 
These  enamels  have  a  great  variety  of  tones  and  hues  on  account  of  the  different 
depths  oftheglaze,  according  to  the  incised  design  underneath.  During  the  ninth, 
tenth  and  eleventh  centuries  this  style  becomes  simpler  and  reduced  in  size,  and  the 
decoration  of  birds,  inscriptions,  friezes  of  runninganimals  andfish  is  covered  with 
an  all-over  monochrome  glaze.  These  wares  gradually  lead  over  to  the  earlier 
specimens  preceding  the  Rhages  wares  of  the  twelfth  and  thirteenth  centuries 
(specimens  at  the  Metropolitan  Museum  of  Art). 

MESOPOTAMIAN  POTTERIES  OF  THE  TWELFTH 
AND  THIRTEENTH  CENTURIES 

THE  city  of  Raqqa  became  the  capital  ofthe  Caliphateunder  Harun  al  Raschid 
(786-809  A.  D.)  when  in  the  later  years  of  his  reign  the  populace  of  Bagdad 
became  too  turbulent.  It  was  natural  to  assign  the  potteries  found  in  the  city  to 

[XII] 


INTRODUCTION 


the  period  of  the  great  ruler.  But  researches  made  on  the  spot  by  F.  Sarre  gave 
evidence  that  the  Raqqa  wares  which  had  been  appearing  for  about  thirty  years 
in  the  art  markets  of  Paris  and  London  all  came  from  a  part  of  the  city  which  was 
constructed  during  the  eleventh,  twelfth  and  thirteenth  centuries.  (See  F.  Sarre, 
"Die  Keramik  Im  Euphrat-und  Tigris-Gebiet,"  Berlin,  192  1,  page  24.)  For  even 
after  the  capital  was  moved  away  from  Raqqa,  the  city  remained  an  important  cen- 
tre down  to  the  time  of  the  Mongol  conquest.  These  cold  facts  which  destroy 
the  poetical  legend  of  the  potteries  of  the  time  of  Harun  al  Raschid,  associate 
the  beautiful  Raqqa  potteries  with  the  pre-Mongol  wares  in  Persia  and  Egypt. 

The  Raqqa  wares  are  of  several  types.  Large  ovoid  jars,  with  turquoise,  manga- 
nese brown  or  translucent  light-greenish  glaze  are  decorated  in  relief  with  mag- 
nificent Cufic  letters  on  a  ground  of  arabesque  scroll  work.  Other  vases  show  a 
gorgeous  combination  of  black  slip  painting  under  a  translucent  turquoise  blue 
glaze, which  is  generally  enhanced  by  rich  golden  iridescence.  A  third  type,  perhaps 
the  most  refined  one,  bears  a  decoration  of  manganese  brown  lustre  on  a  white 
background  with  touches  of  cobalt  blue.  We  sometimes  find  specimens  of  this 
latter  type  in  which  the  arabesque  decoration  is  at  once  of  extreme  grandeur  and 
of  the  subtlest  refinement. 

THE  REAWAKENING  OF  THE  PERSIAN  SPIRIT 

DURING  the  second  part  of  the  seventh  century  Mohammadan  conquerors 
established  themselves  in  Persia  on  the  ruins  of  theSassanian  Empire.  In  66 1 
A.D.  Herat  was  in  their  power.  Buchara  and  Samarcand  were  occupied  in  674 
and  676,  but  not  until  the  early  years  of  the  eighth  century  was  the  power  of  the 
Caliphate  definitely  established  in  Transoxiana. 

Arabic  influence  in  politics,  religion,  literature,  art  and  science  seemed  to  have 
gained  entire  control  over  Persia  and  Turkestan,  but  there  was  so  much  useless 
struggle  for  power  and  so  much  intrigue  at  the  court  of  the  Caliph  that  the 
strength  of  the  new  world  empire  was  quickly  dissipated.  Turkish  body-guards 
gradually  took  over  the  governorships  in  the  provinces  and  the  leading  positions 
in  the  capital.  The  spiritual  leader  of  Islam,  the  Caliph  of  Bagdad,  became  a  pup- 
pet, whose  functions  were  limited  to  the  harem.  The  governors  in  the  provinces 
strove  toward  independence,  and  very  soon  the  part  of  Persia  beyond  the  Kho- 
rassan  desert,  as  well  as  Turkestan,  the  country  beyond  the  Oxus,  belonged  only 
nominally  to  the  empire  of  the  Caliphate.  The  Taherids,  Saffarids,  Samanids  and 
Shahs  of  Khwarizm  (Khiwa)  formed  a  succession  of  dynasties  which  controlled 
these  two  Eastern  provinces  of  Mohammadan  territory.  Another  dynasty,  that 
of  the  Ghaznawids,  started  from  Afghanistan  and  conquered  the  Panjab. 

[xin] 


INTRODUCTION 


After  the  country  had  gained  its  political  independence  from  Bagdad,  the  Ara- 
bian influence  soon  decreased  and  the  old  Persian  tradition  in  literature  and  art 
began  to  revive.  The  nationality  of  the  rulers,  whether  Persian, like  the  Samanids, 
or  Turkish,  like  the  Shahs  of  Khwarizm  and  the  Ghaznawids,  made  no  difference 
in  this  evolution.  The  Samanids  were  descended  from  a  noble  Persian  family  from 
Balkh  recently  converted  from  Zoroastrianism  to  Mohammadanism,  and  were 
naturally  inclined  towards  Persian  art,  while  the  rude  and  cruel  Turkish  war- 
riors, who  as  condottieri  assumed  power  in  Khiwa  and  Ghazna,were  only  too  glad 
to  conform  to  the  high  standards  of  Old  Persian  civilization  and  refinement  to 
heighten  the  splendor  of  their  parvenu  empires. 

This  period  was  the  golden  age  of  Persian  literature.  The  plastic  arts,  too,  must 
have  flourished  in  the  Eastern  half  of  Persia  and  Turkestan,  but  aside  from  a  few 
textiles  and  the  nearly  unexplored  monuments  of  Ghazna,  practically  nothing 
has  survived  from  which  we  can  read  the  history  of  art  during  the  tenth,  eleventh 
and  twelfth  centuries  in  these  Eastern  lands.  We  can  only  assume  that  the  main 
evolution  of  Persian  art  must  have  taken  place  there,  rather  than  in  the  part  of 
Persia  west  of  the  desert  of  Khorassan,  which  was  ruled  by  the  Buyides  and  Seljuks, 
not  to  mention  a  large  number  of  unimportant  petty  dynasties. 

We  are  slightly  better  informed  about  Western  Persia,  thanks  mainly  to  the  ex- 
cavations in  Rhages.  This  old  capital  was  controlled  by  the  Buyides  from  the 
middle  of  the  tenth  century;  after  1037  they  were  supplanted  by  the  Seljuks.  In 
1  1 41  the  Seljuks  were  pushed  westward  by  the  Sultan  of  Khwarizm  and  the  great 
Khan  of  the  Karakitai.  One  hundred  years  later  all  the  Near  East  was  submerged 
by  the  big  Mongol  flood.  Rhages  suffered  destruction  at  their  hands  in  1  2  2  1 .  The 
Mongol  dynasty  of  Persia,  the  Ilkhans,  established  their  capitals  at  Maraga  and 
Sultanabad,  which  rapidly  became  centres  of  art  and  science.  Under  their  rule 
the  influence  of  Chinese  art  makes  itself  more  and  more  felt  in  Persia. 

PERSIAN  POTTERIES  OF  THE  TENTH  AND 
ELEVENTH  CENTURIES 

WE  know  very  little  about  the  gradual  evolution  of  Persian  pottery  from  the 
"Guebri"  and  "Samarra"  periods  to  the  classic  period  of  the  late  twelfth  and 
thirteenth  centuries. 

In  the  first  place,  we  are  hampered  by  the  lack  of  excavations  carried  on  under 
scientific  control.  Dated  pieces  do  not  exist.  We  can,  however,  assign  specimens 
to  this  transitional  period,  on  the  evidence  furnished  by  technical  particularities 
and  characteristics  of  style,  or  we  can  compare  specimens  of  pottery  with  textiles 
and  other  objects  of  art,  which  are  sometimes  more  datable.  In  this  deductive  way 

[xiv] 


INTRODUCTION 


we  may  set  apart  a  certain  number  of  pieces  which  must  belong  to  this  intermedi- 
ate period. 

The  technical  characteristics  of  potteries  of  the  intermediate  period  are  as 
follows: 

Besides  the  white  or  grayish  earthenware,  containing  a  good  deal  of  sand,  another 
type  of  material,  a  heavy  reddish  or  buff  clay  of  a  somewhat  unctuous  or  soap-like 
texture,  used  as  early  as  the  "Samarra"  period,  is  still  employed. 

In  the  pieces  of  the  classic  period,  the  foot  rims  of  the  potteries  are  generally 
shaped  apart  and  attached  to  the  body  before  the  firing.  In  the  primitive  and 
transitional  periods  the  foot  rims  are  generally  very  low  and  shaped  out  of  the 
body  of  the  piece  by  turning  on  the  potter's  wheel. 

The  shapes  are  generally  very  simple,  but  are  sometimes  more  refined  than  in 
the  classic  period.  The  similarity  to  the  calyxes  of  flowers  instills  into  them  an 
element  of  life  which  is  lacking  in  the  geometrically  perfect  pieces  of  the  classic 
period.  We  find  this  same  condensation  of  life  in  certain  porcelaineous  stonewares 
and  porcelains  of  the  late  Tang  and  early  Sung  periods  in  China. 

In  decoration  the  techniques  of  the  previous  primitive  period  survive.  Though 
the  lustre  no  longer  appears  in  such  a  rich  variety  of  shades  and  hues  as  in  the 
Samarra  specimens,  and  the  color  scale  is  limited  to  yellowish  and  manganese 
brown  hues,  the  lustre  wares  still  show  the  greatness  of  primitive  design,  combined 
with  the  elegance  of  the  thirteenth  century.  Eagles  and  phantastic  animals  like 
griffons  are  similar  in  style  to  certain  Mohammadan  weaves  with  medallion  dec- 
oration, ascribed  to  the  eleventh  and  twelfth  centuries. 

The  different  types  of  decoration  with  slip  painting  under  translucent  glazes 
were  gradually  developed  and  worked  out,  but  the  polychrome  muffle  decoration 
seems  still  to  be  unknown  at  this  period. 

Another  type  of  decoration  already  found  in  primitive  times,  but  practically 
abandoned  in  the  twelfth  and  thirteenth  centuries,  is  the  decoration  with  incised 
design,  which  was  discussed  on  page  XII.  This  technique  is  not  confined  to  the 
Near  East.  It  is  very  frequent  in  China,  where  it  is  used,  for  instance,  in  celadon 
wares. 

Similar  effects  of  graduated  color  are  obtained  by  low  relief  decoration,  modeled 
by  hand  or  in  forms  and  generally  glazed  in  light  greenish  turquoise.  Fine  pieces 
of  a  strong  archaic  character,  standing  on  low  bases,  as  described  above,  are  in  the 
Gunsaulus  Collection  in  the  Chicago  Art  Institute  and  the  E.M.Grinnell  Collec- 
tion at  the  MetropolitanMuseum. 

Finally,  we  find  very  beautiful  monochromes  which  can  be  attributed  to  the 
intermediate  period.  In  addition  to  the  familiar  ivory  white  there  is  a  very  rich 

[xv] 


INTRODUCTION 


opaque  turquoise  tin  enamel  and  a  deep  cobalt  blue,  generally  used  to  adorn  spec- 
imens with  relief  decoration. 

POTTERY  TECHNIQUE  DURING  THE  CLASSIC  PERIOD  IN  PERSIA 

THE  classic  period  of  Persian  pottery  is  the  second  half  of  the  twelfth  and  the 
thirteenth  century.  Enameled  tiles  with  dated  inscriptions,  which  have  been 
preserved  in  a  number  of  mosques,  give  fairly  good  authority  for  placing  vases  and 
plates  identical  in  style  in  those  centuries.  The  most  beautiful  specimens  have 
been  discovered  on  the  site  of  Rhages.  Part  of  them  belong  to  a  period  during 
which  Persia  was  independent  from  the  Caliphate  and  was  under  the  sway  of 
Turkish  rulers,  who  were  only  too  eager  to  adopt  a  higher  civilization  and  who 
consequently  favored  a  return  to  the  old  Persian  tradition.  But  part  of  them  were 
made  under  Mongol  domination.  The  Mongol  rulers,  like  the  Turks,  were  soon 
conquered  by  Persian  civilization,  but  under  their  rule  there  was  nevertheless  a 
strong  influx  of  Chinese  motives  and  characteristics.  Chinese  influence  is  some- 
times quite  distinct  in  the  potteries  of  Rhages.  It  is  much  more  evident,  however, 
in  the  fourteenth  century  potteries  discovered  in  Veramin;  the  potteries  of  Sul- 
tanabad  of  the  same  period  are  sometimes  entirely  Chinese  in  character. 

The  potters  of  the  classic  period  have  all  the  varied  techniques  of  the  past,  as 
well  as  their  own  fertile  inventiveness  to  draw  upon.  As  a  result,  their  potteries 
show  more  variety  in  style  and  color  than  do  the  products  of  their  predecessors. 

The  monochromes  excel  by  their  beautiful  color.  The  bottle-green  and  light 
tan  glazes,  translucent  but  dull,  have  been  dropped.  It  is  the  period  of  glory  for 
deeply  colored  translucent  glazes,  the  turquoise  copper  glazes,  the  wonderful 
cobalt  blue  surfaces  which  take  an  almost  purplish  shade  in  the  darker  parts,  the 
rich  purples  produced  by  a  manganese  compound.  Another  series  of  monochrome 
shades  is  obtained  by  adding  tin  to  the  lead  glaze,  which  makes  the  same  turquoise, 
cobalt  blue  and  manganese  glazes  opaque. 

The  intensity  of  all  these  shades  is  increased  by  the  employment  of  slip.  If  a 
translucent  white  glaze  is  applied  to  a  pottery  body,  it  will  show  the  color  of  the 
body.  The  colors  of  the  pottery  bodies  are  a  muddy  gray,  tan,  brown  and  brick 
red.  The  Near  Eastern  potters  practically  never  produced  a  pure  white  body. 
They  aimed,  however,  at  pure  color.  By  covering  the  body  of  a  brown  or  dark 
red  pottery  with  a  very  thin  coat  of  fine  pipe  clay,  they  produced  a  clean  white 
background  which  could  be  decorated  with  the  diverse  colored  glazes  and  finally 
coated  with  a  translucent  white  lead  glaze.  This  white  slip  gives  the  Mohamma- 
dan  potter  the  purity  of  color  which  was  his  great  aim. 
Besides  this  white  slip,  there  is  a  red  slip — the  bolus  earth  which  is  very  frequent 

[xvi] 


INTRODUCTION 


in  the  mediaeval  Egyptian  potteries  discovered  in  Fostat  and  later  in  the  Turkish 
wares.  It  is  lacking  in  the  Persian  wares  of  the  thirteenth  century  and  seems  to 
have  been  used  only  in  muffle  decoration.  There  is,  furthermore,  the  black  slip 
which  creates  a  plain  black  background,  which  is  particularly  important  in  the 
sgraffito  technique,  as  we  will  see  later. 

The  underglaze  decorations  are  executed  on  a  white  background,  which  may  be 
a  white  slip,  or  white  tin  enamel.  On  this  shiny  white  background  diverse  floral, 
arabesque  and  flgural  patterns  can  be  executed  in  black  slip  and  then  covered  with 
a  translucent  glaze,  which  takes  on  a  light  greenish  hue  when  it  coagulates  in  thick 
drops.  Or  part  of  the  glaze  can  be  colored  with  translucent  turquoise,  cobalt  blue 
or  manganese  purple,  and  after  the  main  firing  the  potteries  can  still  be  decorated 
with  metallic  lustre  on  top  of  the  translucent  glaze.  These  color  combinations  are 
extremely  simple  and  at  the  same  time  of  almost  infinite  variety. 

The  sgraffito  technique  is  applied  in  an  entirely  new  manner,  during  the  classic 
Persian  period.  The  wares  are  covered  with  an  opaque  black  slip,  which  is  partly 
scratched  away,  showing  a  white  coat  of  slip  underneath  and  then  a  thick  coat  of 
translucent  turquoise  blue  glaze  is  applied.  The  harmony  of  this  deep  greenish 
blue  with  black  is  extremely  dignified  and  beautiful.  The  technique  calls  for  sim- 
plicity. Perhaps  the  most  beautiful  of  the  palmetto  patterns  have  been  created  in 
sgraffito,  as  have  also  rare  flgural  patterns  (see  the  elephant  in  Riviere,  Plate  74) 
of  the  same  simple  dignity  as  the  floral  ornamentation.  It  is  very  curious  that  this 
introduction  ofcolor  into  the  sgraffito  technique  has  not  been  exploited  in  a  more 
varied  way.  If,  instead  of  the  turquoise  glaze,  a  translucent  white  glaze  had  been 
employed,  it  would  have  been  possible  to  create  extraordinary  effects  of  black  and 
white,  and  a  partial  coloring  of  the  translucent  top  glaze  with  purple,  turquoise 
or  green,  might  have  introduced  other  elements  of  color. 

Another  interesting  group  among  the  Persian  wares  of  the  classic  period  are 
the  specimens  with  relief  decoration. 

The  earliest  specimens  of  this  group,  to  judge  from  the  low  and  massive  bases, 
which  are  always  an  indication  of  early  origin,  must  date  from  the  tenth  and 
eleventh  centuries.  Specimens  of  this  particularly  beautiful  type  are  in  the 
Gunsaulus  Collection  in  the  Art  Institute  in  Chicago  and  in  the  Grinnell  bequest 
at  the  Metropolitan  Museum  in  New  York.  Certain  later  potteries  with  relief  dec- 
oration bear  the  earmarks  of  the  twelfth  and  early  thirteenth  centuries,  but  the 
type  seems  to  be  particularly  in  favor  in  the  late  thirteenth  and  early  fourteenth 
centuries,  at  the  time  when  the  influence  of  Chinese  art  is  already  felt.  The  smaller 
vases  of  this  period  are  generally  moulded  in  a  two  or  three-piece  mould,  the 
sutures  of  which  are  still  visible  on  the  outside  of  the  body.  But  there  are  a  few 

C  xvii  ] 


INTRODUCTION 


specimens  which  must  have  been  modeled  by  hand  and  which  reveal  consequent- 
ly a  direct  and  immediate  inspiration.  These  vases  are  to  plastic  art  what  the  pot- 
teries with  polychrome  decoration  are  to  painting. 

For  this  reason  a  group  of  potteries  in  relief  decoration  has  been  included  in  the 
present  collection.  There  are  two  very  fine  specimens  produced  by  moulding, 
Number  37,  distinguished  by  beautiful  turquoise  tin  glaze,  and  Number  39,  a 
most  extraordinary  specimen  of  cobalt  blue  glaze.  Number  38  is  certainly  hand- 
modeled  and  shows  the  same  spontaneity  in  the  interpretation  of  the  animals 
as  is  shown  in  the  miniature  paintings  in  the  famous  Manafi  manuscript  of  the 
Morgan  Library. 

Number  42  may  be  called  the  most  beautiful  specimen  of  Persian  pottery  that 
exists  today.  This  vase,  too, is  hand-modeled.  The  only  piece  which  may  be  com- 
pared to  it  is  the  famous  vase  from  the  Basilewski  Collection,  now  in  the  Hermit- 
age in  Petrograd,  which  was  perhaps  made  by  the  same  master. 

THE  RHAGES  POLYCHROME  TECHNIQUE 

THE  potters  of  the  twelfth  and  thirteenth  centuries,  while  carrying  on  the  tech- 
niques of  previous  periods,  invented  a  new  technique,  that  of  overglaze  paint- 
ing,  which  greatly  increased  the  possibilities  of  polychrome  decoration  and  of 
elaborate  design.  In  this  technique  the  pottery  is  first  glazed  in  opaque  white,  tur- 
quoise green  or  cobalt  blue.  It  is  then  fired  and  after  firing  it  is  painted  with  col- 
ors which  would  burn  and  perish  at  a  high  temperature,  but  which  can  stand  the 
low  heat  of  the  muffle  kiln,  in  which  they  are  fixed  on  the  glaze. 

The  palette  of  these  overglaze  colors  is  practically  without  limit;  it  includes 
a  number  of  hues,  ranging  from  light  pink  to  dark  purple,  a  deep  lacquer  red, 
comparable  to  and  probably  identical  with  the  bolus  of  the  mediaeval  Egyptian 
and  the  sixteenth  century  Anatolian  potteries,  and  a  rich  assortment  of  olive  gray, 
green  and  turquoise  shades,  not  to  mention  grayish  blue,  a  considerable  number 
of  browns,  cobalt  blue,  black  and  white.  Yellow  never  occurs;  it  is  replaced  by 
gold  leaf  or  by  gold  applied  with  the  brush.  The  entire  technique  of  the  Rhages 
polychrome  potteries,  as  they  are  called,  permits  an  extremely  fine  brush  work, 
enhanced  by  a  variety  of  colors.  It  is  not  so  much  a  ceramic  as  a  pictorial  process; 
it  is  a  kind  of  delicate  miniature  painting  on  pottery.  In  spirit  and  refinement  it 
bears  a  certain  resemblance  to  decorated  Chinese  porcelains  and  to  the  European 
porcelains  ornamented  with  a  similar  kind  of  overglaze  painting. 

There  are  many  types  of  overglaze  painting.  One  prevailing  type  is  of  great 
technical  simplicity  and  is  decorated  only  with  ornamental  patterns.  The  back- 
ground is  plain  cobalt  blue — rarely  opaque  turquoise  or  white.  The  unglazed 

[  XVIII  } 


INTRODUCTION 


foot  is  covered  with  a  red  wash;  an  overglaze  decoration  of  arabesques  and  floral 
scroll  work  is  painted  in  fine  tracery  in  white,  black  and  red,  enriched  with  gold 
leaf.  This  technique  is  employed  not  only  for  bowls,  vases  and  ewers,  but  for  large 
wall  tiles  in  which  the  overglaze  painting  is  generally  used  in  order  to  enrich  and 
to  accentuate  a  moulded  relief  decoration.  The  extremely  simple  and  refined 
patterns  of  these  potteries  remind  one  somewhat  of  enameled  work,  and  it  may 
be  that  they  actually  have  been  suggested  by  enameled  pieces.  A  similar  influence 
of  metal  work  on  pottery  is  often  observed.  Number  44  of  the  present  collection 
is  an  excellent  example  of  this  type. 

From  ornamental  tracery  to  elaborate  miniature  painting  is  only  one  step.  And 
the  potteries  decorated  in  miniature  style  are  the  most  delicate  and  refined  prod- 
ucts of  the  mediaeval  Persian  kilns.  The  always  busy  imagination  of  treasure 
hunters  has  bestowed  the  epithet  "royal"  on  these  wares,  claiming  that  they  were 
substitutes  for  the  golden  vessels  that  were  forbidden  by  Islam.  This  inference  is 
justified  by  the  gorgeousness  of  the  potteries,  particularly  of  those  pieces  with  re- 
lief decorations. 

It  will  be  difficult  to  determine  whether  the  potteries  in  which  relief  decoration 
is  combined  with  the  overglaze  decoration  are  of  an  earlier  or  later  period  than 
the  groups  of  Rhages  polychrome  wares  already  mentioned.  These  relief  vases, 
also,  sometimes  bear  a  purely  ornamental  decoration  and  sometimes  numerous 
figures  in  pictorial  style. 

Since  the  possibilities  of  expression  in  the  lustre  and  underglaze  techniques  are 
rather  limited,  the  range  ot  subjects  is  more  or  less  conventional — arabesques, 
floral  scrolls,  friezes  of  animals,  kings  on  the  throne,  hunters,  dancers,  musicians. 
The  Rhages  polychrome  technique,  with  a  wider  range  of  technical  possibility, 
has  also  a  much  wider  range  of  subjects. 

This  freedom  in  the  Rhages  polychrome  potteries  assigns  to  them  a  particularly 
important  place  in  the  history  of  Mohammadan  potteries  as  well  as  in  the  history 
of  beauty  in  Persia.  The  present  collection  therefore  lays  the  main  stress  on  this 
group  and  the  specimens  of  Rhages  polychrome  decoration,  with  or  without  re- 
lief decoration,  form  an  ensemble  of  unrivaled  beauty.  One  feels  that  the  artists 
who  adorned  these  vases  must  have  been  the  same  who  illuminated  the  manu- 
scripts. 

MINIATURE  PAINTING  AND  POTTERY  DECORATION 

WHETHER  the  decorators  of  pottery  were  the  same  men  who  illumined 
manuscripts,  or  merely  followers  of  their  example,  pottery  decorations  must 
reflect  the  different  styles  of  miniature  painting. 

[xix] 


INTRODUCTION 


We  can  distinguish  two  styles  of  Mohammadan  miniature  painting:  First,  the 
"School  of  the  Caliphate,"  "Abbasid  School,"  or  "School  of  Bagdad,"  as  it  has 
been  variously  styled  by  various  authors;  second,  the  Eastern  Persian  School, 
which  we  may  locate  roughly  in  Eastern  Persia  and  Transoxiana  (Mavaralnar). 

The  earliest  specimen  of  the  Abbasid  School  is  found  on  a  papyrus  in  the  collec- 
tion of  Archduke  Rainer  in  Vienna.  We  have  a  series  of  manuscripts,  mainly 
Hariri,  Galenus,  Dioscorides,  treatise  on  automata  and  Manafi  al  Hayawan, 
some  of  them  dated  from  the  thirteenth  century.  The  school  gradually  died  out 
under  Sunnite  prejudices  during  the  fourteenth  century,  before  the  Chinese  in- 
fluence made  itself  felt.  It  is  characterized  by  certain  Byzantine  influences.  It 
shows  a  bold,  simple  linear  style  heightened  by  strong  colors.  The  figures  stand 
out  against  the  plain  background  of  the  paper. 

The  Eastern  Persian  style  is  based  on  color.  Intensity  of  color,  rather  than  ex- 
pressive design  is  the  aim.  The  backgrounds  are  generally  of  a  deep,  warm  red. 
This  style  probably  goes  back  to  Sassanian  sources.  It  was  crowded  out  from 
Persia  through  the  Arab-Mohammadan  conquest,  but  survived  beyond  the  Oxus. 
The  earliest  specimens  of  this  school  were  discovered  in  the  dry  sands  of  Eastern 
inese)  Turkestan.  Should  we  desire  to  date  those  strange  Manichaean,  half- 
Chinese  paintings  by  giving  them  the  name  of  a  Mohammadan  dynasty,  we 
might  call  them  miniatures  of  the  "Taherid  Period."  In  Persia,  or  Western  Turk- 
estan, nothing  has  been  preserved  from  this  period.  Though  the  art  of  miniature 
painting  must  have  flourished  under  the  Samanids,  no  examples  have  as  yet  been 
discovered. 

Gradually  the  dynasties  of  Turkestan  and  Eastern  Persia,  grown  independent  of 
the  Caliphate,  and  even  hostile  to  it,  pushed  westward  and  carried  old  Persian 
traditions  into  the  territory  of  the  Caliphate.  Suddenly  these  powers  are  drowned 
by  the  Mongol  flood,  and  under  the  Mongol  rulers  of  Persia,  the  Ilkhans,  there 
flourishes  all  over  Turkestan  and  Persia,  a  new  art  which  amalgamates  the  old 
Persian  traditions  with  broad  Chinese  characteristics  and  motives.  While  the  style 
of  the  Caliphate  must  for  some  time  have  held  not  only  in  Mesopotamia,  but  also 
in  Western  Persia,  the  Mongol  rule  now  brings  the  Persian  style,  amalgamated 
with  Chinese  elements,  back  to  all  Persia,  Eastern  and  Western,  and  in  the  late 
fourteenth  century  manuscripts  of  this  type  are  produced  as  far  west  as  Bagdad. 

It  is  of  course  natural  that  these  two  styles  have  not  been  kept  in  water-tight 
compartments.  Some  of  the  Abbasid  manuscripts  inevitably  show  traces  of  the 
colorful  Eastern  style.  Eastern  manuscripts,  on  the  other  hand,  bear  marks  of  the 
Abbasid  linear  swing.  It  is  but  a  step  from  certain  paintings  in  the  Arabic  "Galenus" 
in  Vienna  to  miniatures  of  the  Persian  "Jami  al  Tawarik"  in  the  Kevorkian  Col- 

[xx] 


INTRODUCTION 


lection  (Cf.  F.  R.  Martin,  "Miniature  Painting  and  Painters  of  Persia,  India  and 
Turkey,"  Plate  X,  and  Ph.W.Schulz,  "Die  Persisch-Islamische  Miniaturmalerei," 
(Plate  J  ).  Nevertheless,  the  two  currents  are  distinct. 

In  comparing  the  potteries  and  the  miniature  paintings  of  the  classic  period 
there  are  discernible  certain  inherent  differences  of  style.  It  is  natural  that  the 
decorator  of  pottery  be  not  so  intent  upon  psychological  expression  as  is  the  min- 
iature painter.  It  is  also  natural  that  the  possibilities  of  his  technique,  with  its  tur- 
quoise backgrounds  and  its  brilliant  colored  glazes,  introduce  into  his  style  an 
element  that  exists  to  a  lesser  degree  for  the  book  painter.  It  seems  likely,  more- 
over, that  minor  potters  carried  on  old  Persian  local  traditions  which  were  in  their 
blood,  but  which  were  scorned  by  the  up-to-date  miniature  painter  who  decor- 
ated books  written  in  the  (after  all  foreign)  Arabic  language. 

Yet,  in  spite  of  all  these  differences,  a  clear  relationship  can  be  traced  between 
the  Rhages  and  Sultanabad  potteries,  on  the  one  hand,  and  the  miniature  paint- 
ings on  the  other. 

One  type  of  ware  is  decorated  with  very  small,  sketchy  figures,  done  by  the  less 
important  workmen.  But  the  masterpieces,  and  therefore  the  most  significant 
examples  of  this  style  are  distinguished  by  a  large  sized,  elaborate  design.  There 
is  an  extraordinary  resemblance  between  the  painting  on  these  wares  and  the 
Abbasid  miniature  painting.  Decorations  such  as  that  of  Number  i  3  are  identical 
in  style  with  the  miniature  paintings,  for  instance,  with  those  of  the  famous  Dios- 
corides  of  1  2  2  2,  or  the  Hariri  of  1237. 

Let  us  study  the  trees.  There  appear  on  the  potteries  three  types  which  have 
their  counterpart  in  the  miniature  paintings.  The  first  type,  a  tree  with  straight 
branches  spreading  from  the  top  of  the  trunk,  each  branch  followed  by  a  double 
line  of  dots,  is  shown  in  Number  13,  of  the  present  collection.  Its  counterpart  may 
be  seen  in  the  miniatures,  for  instance,  in  the  Vienna  Galenus  (see  Martin,  Plate 
14).  Another  type  of  tree  shows  spiral  vines  curling  from  the  top  of  the  trunk, 
followed  by  similar  rows  of  dots.  Number  2  o  of  the  present  collection,  or  the  bowl 
in  the  Mortimer  Schiff  Collection  (Figure  7,  Riviere,  Plate  62)  has  a  tree  corre- 
sponding to  that  in  the  London  Manafi  (Martin,  Plates  1 7  and  1  8).  A  third  type 
shows  bamboo-like  stems  with  lanceolated  leaves  (see  lustre  plate,  Riviere,  Plate 
35  and  London  Manafi  or  Vienna  Galenus,  Martin,  Plates  14  and  18). 

The  textile  patterns  represented  on  miniatures  and  potteries  are  also  analogous. 
The  Abbasid  paintings  show  plain  fabrics  or  fabrics  with  bold  spirals  of  flowers 
and  arabesque  leaves.  Small  all-over  patterns,  lozenges,  checker  patterns,  and  so 
forth,  occur  rarely.  We  find  such  spiral  patterns,  for  instance,  in  the  Dioscorides 
of  1222  A.  D.  (Martin,  Plate  A  and  Plate  6).  And  though  the  potters  seem  to 

[xxi] 


INTRODUCTION 


show  a  predilection  for  small  all-over  patterns,  particularly  in  the  specimens  of  a 
minor  scale,  we  find  the  bolder  textile  designs  on  pottery  also  (Riviere,  Plate 
44  and  many  examples  in  the  present  collection). 

These  are  a  few  details  which  may  confirm  the  general  impression  of  similarity 
between  Abbasid  miniature  painting  and  Rhages  pottery.  It  may  also  be  interest- 
ing to  compare  the  travelers  riding  on  camels  in  the  Schaefer  Hariri  (Martin,  Plate 
i  o),  with  the  beautiful  bowl  of  the  Mortimer  SchirT  Collection,  representing  King 
Bahram  Gur  riding  on  a  camel  (Figure  7,  Riviere,  Plate  62).  The  analogy  is  so  evi- 
dent that  it  is  more  conclusive  than  any  investigation  of  details. 

A  main  characteristic  of  both  Rhages  pottery  and  Abbasid  painting  is  that  both 
show  not  the  slightest  trace  of  Chinese  influence. 

Though  the  earliest  manuscripts  of  the  Eastern  school  show  no  trace  of  Chinese 
influence,  Chinese  motives  pour  into  the  manuscripts  dedicated  to  Ghazan  Khan. 

Ghazan  Khan  was  the  first  Mongol  ruler  who  took  a  deep  interest  in  art  and 
science.  His  residences  were  Sultanabad  and  Maraga.  Two  manuscripts  dedicated 
to  him  are  still  existant — the  Kalila  we  Dimna,  now  scattered  in  Paris,  and  the 
famous  Manafi  of  the  Morgan  Library.  Besides  a  rather  indefinable  Chinese  feel- 
ing in  the  interpretation  of  the  human  types  and  of  plants,  certain  details  char- 
acteristically Chinese,  such  as  phoenixes,  clouds  and  dragons,  are  noticeable  in 
these  manuscripts. 

The  Sultanabad  potteries  show  the  same  influx  of  Chinese  elements  into  the 
art  of  the  potter.  Therefore  they  can  safely  be  assigned  to  the  period  of  Ghazan 
Khan  and  later.  Peony  flowers  and  shrubs,  in  free  assymetrical  Chinese  style,  and 
phcenixes,  become  staple  motives,  and  the  people  pictured  are  very  distinctly 
Mongolian  in  type.  These  potteries,  created  not  far  from  Rhages,  show  how  the 
Eastern  tradition  swept  over  Persia  and  pushed  back  the  Abbasid  style  westward 
to  Mesopotamia. 

ECONOMIC  ASPECTS 

BOTH  the  Rhages  polychrome  potteries  and  the  vases  with  relief  decoration 
throw  a  very  interesting  sidelight  on  the  way  in  which  these  masterpieces  of  the 
potter's  art  were  created. 

We  often  hear  slightly  romantic  theories  about  the  creation  of  the  most  impor- 
tant works  of  early  Mohammadan  art,  potteries,  bronzes  and  manuscripts.  Their 
primitive  and  simple  character  has  suggested  that  they  are  related  in  spirit  to 
modern  popular  art,  with  which  they  indeed  show  a  certain  affinity  by  reason  of 
their  simplicity  of  line,  their  directness  of  color  and  their  naive  interpretation 
of  literary  subjects.  This  relation  is,  however,  only  apparent. 

[  XXII  ] 


INTRODUCTION 


In  early  Mohammadan  art  there  are  as  many  degrees  and  shadings  in  the  quality 
of  execution,  as  there  are  in  the  art  of  our  days.  The  skill  of  the  workman  is  not 
the  only  deciding  factor  in  this  variation.  The  refinement  of  execution  and  design 
was  certainly  influenced  by  the  financial  standing  of  the  man  who  ordered  or  pur- 
chased a  work  of  art. 

Such  differences  in  quality  suggest  that  this  art  is  not  merely  regional,  intended 
for  only  one  district  and  for  people  of  about  the  same  social  standing.  These  pot- 
teries, textiles,  bronzes  and  glass  vessels  which  carried  beauty  into  everyday  life 
were  interchanged  between  city  and  city,  province  and  province,  country  and 
country.  The  fact  that  many  weaves  are  called  after  the  place  of  production  is 
sufficient  proof  of  their  having  been  traded  from  one  place  to  another. 

The  distribution  of  the  merchandise  was  effected  by  the  commercial  methods 
of  international  trade;  production,  too,  necessitated  the  cooperation  of  different 
individuals  in  the  making  of  one  object. 

Among  the  patrons  of  art  the  princes  were  naturally  the  most  important,  as 
they  concentrated  the  maximum  of  power  and  wealth  in  their  hands.  Most  of  them 
maintained  large  workshops  of  craftsmen  and  artists,  and  if  they  invaded  a  foreign 
country,  they  used  to  seize  the  craftsmen  in  the  employ  of  the  defeated  adversary 
and  carry  them  off  to  the  service  of  the  conqueror's  magnificence.  How  often 
we  hear  of  carpet  weavers,  calligraphers  or  miniature  painters,  who  were  carried 
away  after  a  political  disaster! 

There  can  be  no  doubt  that  at  the  time  of  their  creation  the  finest  specimens  of 
Rhages  polychrome  decoration,  or  of  hand-modeled  potteries,  were  considered 
to  be  important  masterpieces.  It  is  very  probable  that  the  hands  which  shaped  the 
vases  did  not  do  the  painting.  The  decorations,  so  closely  related  to  the  contem- 
poraneous miniatures,  were  probably  painted  by  the  miniature  painters  after  the 
the  vessel  had  been  turned  on  the  wheel,  glazed  and  fired  by  the  potter  of  the 
Sultan's  factory.  In  large  relief  pieces,  such  as  Number  42  and  the  Basilewski  vase, 
we  can  take  for  granted  the  collaboration  of  a  man  experienced  in  sculpture,  of 
a  painter  and  of  a  craftsman  skilled  in  firing  important  pieces  of  pottery. 

Practically  all  the  names  of  the  men  who  created  Gothic  sculpture  are  lost  to  us. 
Of  the  masters  of  Mohammadan  art  only  the  calligraphers  and  miniature  painters 
are  known.  In  the  potteries,  however,  certain  nameless  individuals  seem  to  emerge. 
There  is  a  probability  that  the  Basilewski  vase  and  the  vase  Number  42  were 
made  by  the  same  artist.  The  vases  Numbers  33  and  34  of  the  present  collection 
also  seem  to  be  the  product  of  the  same  hand.  Some  day  we  may  perhaps  find  that 
a  charming  composition  like  that  of  Bahram  Gur  hunting  on  Fig.  7  or  50  is  re- 
peated in  exactly  the  same  manner  in  a  manuscript  of  the  thirteenth  century,  and 

[  XXIII  ] 


INTRODUCTION 


we  may  then  be  able  to  attribute  the  pottery  bowl  to  the  same  painter  who  dec- 
orated the  manuscript.  Up  to  the  present,  however,  we  have  not  acquired  suffi- 
cient knowledge  to  make  any  such  definite  attributions.  We  may  only  suppose 
that  masterpieces  like  the  best  Rhages  polychrome  potteries  or  the  best  hand 
modeled  relief  vases  were  made  for  the  Sultan  and  his  favorites,  in  some  court  fac- 
tory where  the  most  skilled  artists  and  craftsmen  were  assembled. 

SULTANABAD  POTTERIES 

THE  Sultanabad  potteries  date  from  the  end  of  the  classic  period.  They  were 
made  after  the  Mongol  conquest  of  Persia,  during  the  reign  of  the  Ilkhans, 
the  descendants  of  Hulagu,  Djenghiz  Khan's  grandson,  who  established  his  empire 
in  1256  A.  D.  with  the  capitals  Maraga  and  Sultanieh  or  Sultanabad.  The  art  of 
the  Ilkhans  is  characterized  by  the  intense  Chinese  influence,  which  is  very  dis- 
tinct in  the  potteries.  Technically  the  Sultanabad  potteries  show  a  mixture  of 
underglaze  paint  and  sgraffito  technique.  Their  body  is  of  a  rather  coarse  earthen- 
ware of  grayish  color,  which  appears  dark  gray  when  covered  with  translucent 
glaze.  However,  parts  of  it  are  covered  with  a  white  slip,  which  is  partly  scratched 
away  to  produce  certain  details  of  the  design  in  gray  on  white.  The  design  is  then 
outlined  by  the  brush  in  black  and  often  vivified  by  splashes  of  turquoise  and  co- 
balt blue  under  the  glaze.  This  combination  is  very  delicate. 

The  subjects  of  the  Sultanabad  potteries  are  Chinese  in  character:  —  rows  of  fly- 
ing phoenixes,  fantastic  animals  and  figural  compositions  very  like  the  miniature 
paintings  of  the  Mongol  School. 

Besides  these  wares,  certain  lustre  potteries  are  attributed  to  Sultanabad.  These 
are  of  a  somewhat  coarser  type  than  the  lustre  wares  of  Rhages  and  those  from 
the  Arag  and  other  Persian  provinces  where  lustre  potteries  have  been  made. 

LATER  EVOLUTIONS 

THE  Sultanabad  wares  close  the  history  of  the  classic  period  of  pottery  in  Per- 
sia. During  the  fifteenth  century  nothing  new  is  created  and  the  most  in- 
teresting potteries  come  from  Turkestan,  from  Buchara  and  Samarcand. 

The  sixteenth  century  brought  a  revival  of  the  art  of  pottery  under  Chinese  in- 
fluence. The  blue-and- white  of  the  Chinese  Ming  period  was  eagerly  imitated  and 
the  lustre  ware  revived  in  a  more  or  less  Chinese  style.  This,  however,  is  another 
chapter  of  Persian  art,  far  less  important  than  that  characterized  by  the  names  of 
Samarra,  Raqqa,  Rhages  and  Sultanabad.  For  potteries  of  the  sixteenth  and  seven- 
teenth centuries  are  only  of  local  interest,  while  Mohammadan  pottery  in  its  early 
creative  status,  became  a  great  source  of  inspiration  for  Europe. 

[xxiv] 


INTRODUCTION 


European  pottery  is  almost  entirely  derived  from  the  ceramic  art  of  the  Near 
East.  The  rough,  primitive  mediaeval  earthenwares  of  Europe  have  been  perpet- 
uated only  in  the  salt-glazed  stonewares  of  Flanders  and  the  lower  Rhine,  which 
on  account  of  the  vitrified  bodies  constitute  a  technical  advance  unknown  to  the 
Mohammadan  earthenwares.  The  wonderful  evolution  of  pottery  in  Italy  from 
the  thirteenth  to  the  sixteenth  century,  is  based  on  Mohammadan  inspiration. 
The  polychrome  faience  and  majolica  potteries  produced  everywhere  in  Europe 
during  the  seventeenth  century  are  derived  from  potteries  that  traced  their  de- 
scent back  to  the  Near  East.  In  the  seventeenth  century  the  blue-and-white  Chi- 
nese pottery  and,  on  a  smaller  scale,  the  Ming  five-color  ware,  were  copied  by  the 
Dutch  in  the  diverse  Mohammadan  techniques.  Later,  these  wares  were  made  in 
all  the  European  countries.  Chinese  inspiration  did  not  supersede  the  Mohamma- 
dan until  the  invention  of  porcelain  in  Meissen  in  the  early  eighteenth  century. 
Our  modern  movement  in  art,  with  its  desire  for  beautiful  color  and  expressive 
simplicity,  reacts  again  towards  the  Mohammadan.  The  work  of  the  mediaeval 
Near  Eastern  potters  has  an  especial  appeal  for  us. 

THE  PICTORIAL  REPRESENTATIONS  ON  RHAGES  POTTERY 

AT  first  glance,  the  diverse  pictorial  representations  on  the  Rhages  potteries  of 
..the  twelfth  and  thirteenth  centuries  seem  rather  uniform  and  conventional, 
but  upon  closer  examination  we  discover  that  they  are  a  pictorial  record  of  an- 
cient Persian  tradition  and  legend  as  well  as  of  the  lives  of  contemporary  princes 
and  powerful  men.  As  such,  they  are  as  valuable  a  contribution  to  the  history  of 
Mohammadan  civilization  as  are  the  miniature  paintings  of  the  same  period. 
These  subjects  may  be  divided  into  three  main  groups: 

(1)  Representations  of  animals  and  plants. 

(2)  Representations  of  old  legends. 

(3)  Representations  of  contemporaneous  life. 

But  before  we  discuss  these  three  groups  of  representation,  we  ought  to  study 
the  different  types  of  composition. 

The  Compositions  of  Rhages  Pottery  and  Their  Old  Oriental  Predecessors 

Certain  general  types  of  composition  were  especially  favored  by  the  craftsmen 
who  decorated  the  Rhages  wares.  In  the  pictorial  potteries  of  the  present  collec- 
tion the  following  motives  are  employed: 

(1)  Rows  of  walking  animals. 

(2)  Frieze  of  animals  running  and  chasing  one  another. 

(3)  Animals  or  human  figures  in  opposite  symmetrical  representation. 

[xxv] 


INTRODUCTION 


(4)  A  medallion  motif  with  a  single  man  on  horseback. 

(5)  A  medallion  composition  with  a  king  on  the  throne. 

(6)  Decorative  inscriptions. 

In  Oriental  art  the  motif  of  animals  walking  one  after  the  other  in  a  row  is  a 
very  old  one.  The  Assyrians  employed  it  in  sculptured  friezes,  as  well  as  in  bord- 
ers on  textiles  and  on  metal  vessels.  Interesting  examples  of  its  use  are  found  in 
Austin  H.  Layard's "Nineveh"  (Volume  II,  Plate  5 7, and,  in  particular,  Plates  60 
and  62).  The  examples  in  Mohammadan  art  are  too  frequent  to  be  enumerated. 
The  walking  sphinxes  of  Number  10  and  Number  29  show  very  well  how  the 
motif  was  employed  by  the  makers  of  Rhages  pottery. 

Friezes  of  animals  chasing  one  another,  also  a  common  motif  in  Assyrian  art, 
are  used  as  decoration  for  Numbers  38,  41  and  42  of  the  present  collection, 
which  show  the  Mohammadan  evolution  of  this  type  of  composition. 

The  opposite  symmetrical  representation  of  an  animal  or  a  human  figure  on 
both  sides  of  a  central  motif  is  very  frequent  in  Persian  Achaemenid  art.  The  sym- 
metry of  the  human  body  and  of  the  growing  plant  here  find  an  echo.  Since  such 
symmetry  is  also  the  basic  principle  of  architecture,  it  is  apt  to  be  adopted  by  an 
art  founded  on  static,  architectonic  principles. 

Assyrian  compositions  showing  worshippers,  demons  or  animals,  on  both  sides 
of  the  tree  of  life  are  abundant.  The  representation  of  two  persons  sacrificing, 
one  on  each  side  of  the  fire  altar,  is  current  on  Sassanian  coins.  In  weaving,  this 
type  of  composition,  which  facilitated  the  technical  process,  was  naturally  a  favor- 
ite; so  pairs  of  Sassanian  kings,  of  hunters  on  horseback,  or  of  animals  with  the 
tree  of  life  between,  are  often  found  on  Sassanian  fabrics  (see  Figure  14).  Alexan- 
dria, once  the  centre  of  the  silk-weaving  industry  of  the  Roman  Empire,  eagerly 
copied  Sassanian  patterns  and  made  the  medallion  composition  of  figures  in  sym- 
metrical representation  one  of  its  main  motives.  Oriental  kings  and  hunters  on 
horseback,  and  standing  animals  in  opposite  representation,  encircled  by  medal- 
lions, became  a  world-wide  motif;  they  were  taken  over  by  Alexandria  and  later 
by  Byzantium  and  Italy,  by  Chinese  weavers  of  the  Tang  period  and  by  the  early 
Mohammadan  textile  industry. 

Many  pieces  in  the  present  collection  show  this  type  of  composition  on  pottery. 
On  Number  1  7  are  a  pair  of  walking  sphinxes,  and  on  Number  29  sphinxes  ram- 
pant. Numbers  19  and  20  and  Figure  13  show  hunters  on  horseback  in  oppo- 
site representation.  The  comparison  between  the  composition  of  Number  20 
and  the  Sassanian  fabrics  is  rather  interesting.  On  early  textiles  it  is  generally  a 
rather  cowed  lion  that  crouches  below  each  of  the  hunters.  The  Persian  artists 
of  the  thirteenth  century  create  more  lively  compositions.  The  lion  is  in  the  rapid 

[  XXVI  ] 


INTRODUCTION 


movement  of  attack.  It  leaps  at  the  horse.  The  horses,  instead  of  standing  quietly, 
are  represented  as  galloping. 

A  medallion  composition  with  a  single  king  or  hunter  on  horseback  is  a  classic 
motif  of  Sassanian  art.  It  is  frequently  found  on  the  beautiful  silver  platters  of  the 
period,reproductions  ofwhich  are  to  be  found  in  Smirnow's  "Argenterie  Orientale" 
(Numbers  18,  35,  56,  57,  59,  60,  61,  62,  63,  157,  160,  287  and  309). 

The  horse  of  the  king  is  generally  represented  as  standing  still.  A  lion  leaps  to- 
wards the  rider,  who  meets  the  attack  with  sword  or  spear.  The  same  motif  is  found 
on  a  remarkable  late  Sassanian  or  early  Mohammadan  sgraffito  plate  to  be  seen 
at  the  Metropolitan  Museum  (Figure  2),  which  represents  a  king  on  horseback 
hunting  with  the  leopard.  This  motif  has  remained  very  much  alive  in  the  Persian 
classic  art  of  the  twelfth  and  thirteenth  centuries.  A  fine  lustre  plate  from  the  Kel- 
ekian  Collection  is  reproduced  in  Riviere,  Plate  44,  and  two  bronze  candlesticks 
inlaid  with  silver  and  gold  from  the  Mutiaux  and  Kelekian  Collections  in  Paris 
are  reproduced  in  Migeon,  Exposition  d? Art  Musulman,  Plate  1  7.  In  the  present 
collection  Number  34  is  a  fine  specimen  of  a  falconer  on  horseback. 

The  composition  of  a  king  or  sultan  sitting  in  state  on  the  throne  is  another 
old  Assyrian  motif  that  was  perpetuated  in  Sassanian  art.  Assyrian  examples  are 
foundin  Layard, "Nineveh", Vol.  1,  Plate  5.SomefineSassaniansilverplattersthat 
show  the  same  motif  are  reproduced  in  Smirnow's  "Argenterie  Orientale,"  Num- 
bers 64  and  141.  The  museum  in  Lyons  owns  a  very  curious  Egypto-Roman  tap- 
estry weave  with  an  analogous  composition  (see  Cox,  "Soieries  d'  Art",  Plate  20). 

Perhaps  the  most  famous  use  of  the  motif  is  on  the  platter  with  the  large  cut 
rock  crystal  in  the  Cabinet  des  Medailles  in  Paris  (Smirnow,  Plate  24  ).  But  the 
composition  of  the  large  silver  platter  in  the  Hermitage  in  Petrograd  (Figure  1) 
is  of  particular  interest  to  the  student  of  Mohammadan  potteries;  for  it  does  not 
show  the  Sassanian  king  sitting  in  dignified  attitude  surrounded  by  retainers,  but 
pictures  him  drinking  and  surrounded  by  slaves  and  musicians  exactly  as  on  the 
Mohammadan  potteries.  The  popularity  of  the  motif  in  Mohammadan  Persia  is 
proved  by  its  frequent  use  on  bronze  objects  (see  Figure  38)  and  on  potteries. 
In  the  present  collection  there  are  not  less  than  four  examples  (Numbers  1 6, 1  8, 
30  and  31). 

Inscriptions  of  a  strongly  decorative  character  are  found  in  the  art  of  earlier  pe- 
riods. In  the  discussion  of  the  Tiraz  galloon  on  pageLII  we  have  mentioned  the 
inscriptions  on  Coptic  and  Arabic  textiles.  Syrian  glassware  of  the  early  Imperial 
period  quite  frequently  bears  Greek  and  Roman  inscriptions,  which  are  the  proud 
mark  of  the  maker  or  wishes  of  good  health,  similar  to  those  found  on  bowl  Num- 
ber 3  of  the  present  collection  and  on  the  modern  German  steins. 

[  XXVII  ] 


INTRODUCTION 


Conventionalized  inscriptions  to  which  no  particular  meaning  seems  to  be  at- 
tached are  found  on  late  Sassanian  and  early  Mohammadan  pottery.  They  are 
without  doubt  the  predecessors  of  the  Cufic  bands  on  our  Rhages  pottery.  Pezard 
discusses  these  inscriptions  (pages  45,  48,  79,  1 06,  1  20,  144,  and  particularly  on 
page  181)  and  reproduces  especially  characteristic  specimens  (Plates  15  A  and 
23B;  Plates  28,  83,84,  85,  86,  87A,  89A,  1  39A,etc;  alsoon  Plates 70,  30A,  39B, 
96B,96C,97B  and  149). 

Some  of  these  specimens  Pezard  assigns  to  the  seventh  century,  leaving  the  pos- 
sibility of  their  pre-Mohammadan  origin  an  open  question;  he  assigns  others  to 
the  late  seventh  century,  when  Mohammadan  art  was  still  virtually  Sassanian. 
He  comes  to  the  conclusion  that  the  inscriptions  are  probably  of  Pehlewi  origin 
and  were  borrowed  and  deformed  by  the  Mohammadans  without  being  clearly 
understood.  Pezard  calls  these  inscriptions  "pseudo  Pehlewi."  But  he  also  points 
out  the  great  resemblance  between  the  Pehlewi  "K"  and  "D"  and  the  Kef  and 
Dal  of  the  Cufic  writing,  and  concludes  that  in  some  cases  these  characters  might 
not  be  deformations  of  Pehlewi  inscriptions,  but  conventionalized  Cufic  writing. 

In  the  twelfth  and  thirteenth  centuries  bands  of  decorative  inscriptions  are  still 
important.  Two  types  of  lettering  are  used,  the  angular,  monumental  Cufic  writ- 
ing and  the  fluid,  elegant,  cursive  Neskhi  characters,  which  later  on  were  devel- 
oped in  Egypt  into  the  large,  decorative  Tsulus  writing.  Cufic  is  a  monumental 
type  of  lettering,  derived  from  the  earliest  Mohammadan  scripts,  which  are  fluid, 
cursive  characters  more  or  less  identical  with  Neskhi  writing  and  derived  from  the 
Aramaic  script.  The  well-known  large  Raqqa  jars  of  the  twelfth  to  thirteenth  cen- 
tury have  bold  Cufic  characters  as  their  main  decoration  (see  Riviere,  Plates  3,6, 8). 
A  certain  group  of  Raqqa  bowls  also  bears  inscriptions  in  central  medallions — 
a  few  large  Cufic  or  Neskhi  characters,  expressing  a  good  wish,  as  bowl  Number 
3  of  the  present  collection.  Friezes  of  conventionalized  Cufic  characters  occur 
in  the  Raqqa  potteries  and  even  more  frequently  in  the  Rhages  pottery.  In  both 
cases  the  Cufic  inscriptions  doubtless  go  back  to  Sassanian  prototypes. 

In  the  Rhages  potteries,  particularly  in  the  Rhages  polychrome  specimens,  in- 
scriptions play  a  very  important  part  as  a  decorative  motif.  Sometimes  a  decorative 
frieze  of  Cufic  lettering  repeats  over  and  over  again  the  same  long-shafted  group 
of  letters.  Such  friezes  are  derived  from  the  pseudo-Pehlewi  inscriptions  and  the 
meaning  of  the  conventionalized  characters  seems  to  be  La  illahil 'Allah  "There 
is  no  God  but  God."  The  characters  may  be  plain  or  may  be  written  in  the  Cou- 
jique fleuri,  a.  Cufic  script  in  which  the  severity  of  the  writing  is  contrasted  with 
elegantly  curved  floral  scrolls.  Figures  of  this  type  are  very  frequently  found  on 
rims  and  borders  of  the  Rhages  pottery. 

[  XXVIII  ] 


Fig.  3.  Pottery  Bottle.  Persia,  13th  century. 
Metropolitan  Museum  of  Art,  New  York. 


Fig.  5.  Detail  of  Pottery  Ewer  Number  38.  Persia,  13th  century. 
Parish-Watson  Collection. 


Fig.  6.  Miniature  Painting  from  Manuscript  of  Manafi  al  Hayawan  dated  1295. 
Collection  of  J.  P.  Morgan,  New  York. 


INTRODUCTION 


These  inscriptions  occur  as  frequently  in  metal  work,  ivory  and  textiles,  where 
they  appear  in  exactly  the  same  style  as  on  the  potteries.  They  are  particularly 
frequent  on  the  fine  silk  tapestry  weaves  that  have  been  found  in  Egyptian  tombs, 
but  that  must  have  been  manufactured  in  other  textile  centres  of  the  Mohamma- 
dan  world  as  well.  Such  tapestry  weaves  are  in  the  Metropolitan  Museum  of  Art, 
New  York,  Cooper  Union,  New  York,  Boston  Museum  of  Fine  Arts,  Chicago  Art 
Institute,  and  the  School  of  Design,  Providence,  R.  I. 

The  La  illah  il  Allah  in  Cufic  characters  becomes  the  classic  border  motif  for 
rugs  and  occurs  on  the  rugs  in  the  mosque  Ala-eddin  in  Konia,  which  Martin  as- 
cribes to  the  thirteenth  century.  I  am  inclined  to  assign  them  to  a  later  date.  The 
inscription  is  frequently  found  as  a  rug  border  in  the  miniature  paintings  of  the 
fourteenth,  fifteenth  and  sixteenth  centuries.  It  adorns  the  Turkish  "Holbein" 
rugs  and  survives  up  to  the  present  day  in  harmonious  severity  in  the  Kuba  group 
and  other  Caucasian  rugs.  Similar  conventionalized  inscriptions  in  Neskhi  char- 
acters occur  on  the  potteries. 

Besides  these  ornamental  inscriptions,  a  number  of  bowls  and  vases  bear  long 
Neskhi  inscriptions.  They  look  very  promising,  and  we  expect  to  find  in  them, 
as  so  frequently  on  Mossoul  bronzes,  ivory  caskets  and  tapestry-woven  fabrics  and 
brocades,  explicit  information  about  the  glorious  sultan  for  whom  the  piece  was 
made,  but  as  yet,  not  a  single  one  of  these  inscriptions  has  revealed  any  interest- 
ing information.  Professor  Sprengling  in  Chicago  tried  to  find  some  meaning  in 
some  of  the  Neskhi  inscriptions  of  the  present  collection,  without  any  positive 
result. 

Representations  of  Animals  and  Plants 

The  animals  represented  on  the  Rhages  potteries  are  of  two  clearly  distinct 
types.  We  find,  on  the  one  hand,  the  fantastic  creations  of  ancient  Eastern  imag- 
ination, such  as  sphinxes,  harpies  and  griffons,  creatures  with  the  bodies  of  ani- 
mals but  winged  and  with  human  heads.  On  the  other  hand,  more  or  less  realistic 
representations  of  lions,  deer,  greyhounds,  and  so  forth,  foreshadow  in  the  thir- 
teenth century  the  great  realistic  movement  under  Chinese  inspiration  which  set 
in  about  the  year  1 300  A.D.  Some  of  the  latter  animals,  when  represented  above 
or  below  the  thrones  of  the  kings,  have  a  symbolic  meaning,  emphasizing  the 
might  of  the  sovereign. 

Among  the  fantastic  animals,  the  sphinx  is  the  most  frequently  represented  in 
the  Persian  potteries.  It  has  a  winged  lion's  body,  and  a  human  female  head, 
which  is  generally  covered  by  a  little  felt  bonnet  that  was  in  fashion  during  the 
twelfth  and  thirteenth  centuries.  In  Number  29  the  sphinx  wears  a  crown-like 
ornament,  instead  of  the  bonnet.  We  find  sphinxes  walking  in  rows  on  Number 

[  XXXIII  ] 


INTRODUCTION 


i  o,  on  the  sides  of  Number  29  and  on  the  pitcher,  Figure  3  2,  of  the  Metropoli- 
tan Museum.  They  also  appear  on  a  pottery  bowl,  reproduced  by  F.  R.  Martin, 
"Oriental  Carpets,"  Figure  28. 

The  composition  of  two  rampant  sphinxes  in  opposite  representation  in  Num- 
ber 29  is  a  close  copy  of  the  decoration  on  a  type  of  Mossoul  bronze  mirror  that 
has  been  preserved  in  a  number  of  examples  (see  Figure  40).  The  same  motif  oc- 
curs also  on  a  twelfth  century  Hispano-Arabic  weave  in  the  Cooper  Union  Textile 
collection  (see  Riefstahl,  "Textiles  in  Cooper  Union,"  Figure  7;  Falke,  "Seiden- 
weberei"  Figure  1  89).  In  bowl  Number  1  7  and  also  on  the  bowl  (Figure  1  2)  of 
the  Metropolitan  Museum,  the  opposite  sphinxes  are  represented  walking.  The 
walking  sphinx  pursued  by  a  crane  or  heron  is  seen  on  a  pottery  bowl  (Schulz, 
Plate  G).  A  sphinx  and  a  bird  with  spread  wings  and  another  sphinx  flanked  by 
two  birds  are  represented  above  and  below  the  main  composition  in  bowl  Num- 
ber 23.  We  doubt  if  this  composition  has  a  symbolical  meaning.  It  may  be  a  hu- 
morous composition  similarto  those  rampant  and  chasingfabulous  animals  found 
so  often  in  the  European  manuscripts  of  the  same  period  and  earlier. 

Another  old  Assyrian  motif  is  the  bird  with  human  head  —  male  or  female.  It  is 
found  in  Assyrian  art  and  migrated  to  Greece  as  the  harpy  who  bewitched  the 
traveler,  Odysseus.  As  the  incarnation  of  the  soul  it  migrated  to  India  and  be- 
comes a  stock  motif  of  Buddhistic  art.  It  also  survives  in  mediaeval  Mohammadan 
art.  We  find  these  female-headed  birds  in  the  lower  frieze  of  Number  15. 

Another  fantastic  animal  frequently  observed  in  Near  Eastern  textiles  of  the 
eleventh  to  the  thirteenth  century  is  the  griffon  with  a  winged  lion's  body.  The 
head  has  piercing  eyes,  the  sharp  beak  of  a  bird  of  prey  and  the  jowls  of  a  cat. 
This  animal  occurs  twice  on  the  friezes  of  the  large  relief  vase,  Number  42,  and 
on  its  companion  piece,  the  Basilewski  vase  (Figure  74).  Small  griffons  and  birds 
in  combination^  motif  certainly  inspired  by  a  textile  pattern,  are  found  on  Num- 
ber 35. 

The  animals  grouped  around  the  throne  of  the  sovereign,  the  couching  lion, 
the  peacock  and  the  falcon,  are  symbols  of  his  power.  The  couching  lion,  tamed 
to  submission  by  the  presence  of  the  omnipotent  sovereign,  is  seen  on  the  bowl 
of  the  Peytel  Collection  (Figure  11).  The  falcons,  an  old  Turkish  symbol  of 
power,  are  hovering  above  the  sovereign  on  bowl  Number  3  1  and  on  the  Peytel 
bowl  (see  Schulz,  Page  63). 

To  the  early  Christians  peacocks  were  a  symbol  of  immortality,  but  to  the  Mo- 
hammadans  they  are  a  symbol  of  royal  splendor  and  are  therefore  depicted  near 
the  throne  of  the  prince,  as  in  bowls  Numbers  1 6  and  1  8,  and  Number  3  1 .  The 
design  of  the  peacocks  in  Number  16,  particularly,  is  of  exactly  the  same  semi- 

[  XXXIV  ] 


INTRODUCTION 


conventionalized  character  so  frequent  in  Near  Eastern  textiles,  and  particularly 
in  the  Sicilian  and  Spanish-Moorish  fabrics  of  the  eleventh  to  the  thirteenth  cen- 
tury (see  Falke,  Figure  205,  207). 

Another  motif  in  Assyrian  art  consists  of  friezes  of  animals  running  and  chasing 
one  another.  Assyrian  art  mingles  fantastic  and  real  animals.  So  does  Mohamma- 
dan  art  until  the  wave  of  Chinese  influence  introduces  a  realistic  character  into 
the  composition.  On  Number  41  is  a  frieze  in  which  the  animals  are  still  quite 
conventionalized.  Lion,  hare,  panther,  and  so  forth,  are  represented  in  rhythmic 
succession.  Number  38  shows  a  similar  composition  of  a  lion  chasing  a  bull  and 
a  greyhound  pursuing  a  gazelle,  seen  against  a  background  of  scroll  work.  This 
composition  is  full  of  the  lively  spirit  which  precedes  the  Chinese  style,  and  is  in- 
teresting, seen  in  comparison  with  the  severe  handling  of  a  similar  motif  in  Num- 
ber 41 .  A  small  frieze  of  greyhounds  and  hares  encircles  the  shoulder  of  Number 
35.  Diverse  animals — peacocks,  herons,  foxes,  lynxes,  and  cranes — are  found  on 
the  fourth  frieze  of  Number  42,  and  the  second  frieze  of  the  same  vase  shows  a 
bear,  a  lynx,  a  winged  griffon,  a  fox  and  deer  pursued  by  a  hunting  leopard  or  grey- 
hound. 

It  happens  that  the  well-known  representation  of  a  lion  attacking  and  killing 
a  bull — one  of  the  stock  motives  of  Near  Eastern  art — does  not  occur  on  any 
piece  of  the  present  collection.  An  analogous  composition  showing  a  bird  of  prey, 
hawk  or  falcon,  killing  another  bird,  heron  or  pigeon,  occurs  on  the  small  frieze 
of  Number  40. 

The  fish  motif  is  frequent  even  in  Egyptian  pottery,  where  it  is  often  combined 
with  lotus  flowers.  It  often  occurs  as  an  all-over  pattern,  as  in  Figure  39,  or  in  a 
frieze,  as  in  Number  2  8.  The  fish  may  have  a  symbolic  meaning,  but  it  is  natural, 
on  the  other  hand,  to  play  with  the  fish  motif  on  a  pottery  receptacle  for  liquids 
which  is  glazed  with  the  turquoise  or  greenish  color  of  water.  Analogous  fish  re- 
presentations frequently  occur  on  the  heavy  Chinese  celadon  wares,  which,  on 
account  of  their  property  of  neutralizing  poisons,  were  imported  in  huge  quanti- 
ties to  the  Near  East  as  early  as  the  Mongolian  period. 

Several  Rhages  pottery  patterns  show  griffons  or  birds,  seated  or  rampant,  in 
opposite  symmetrical  representation,  on  the  branches  of  a  symmetrically  designed 
arabesque  tree.  Sitting  griffons  appear  on  Number  35  of  the  present  collection 
and  birds  on  Numbers  24,  27,  35  and  47.  Such  patterns  are  evidently  derived 
from  textile  patterns  of  the  eleventh  and  twelfth  centuries,  though  we  cannot  be 
sure;  for  Persian  weaves  of  the  eleventh  and  twelfth  centuries  are  extremely  rare, 
and  certainly  not  all  the  existing  types  of  patterns  have  been  preserved.  Several 
specimens  in  the  collection  of  Countess  Ouwaroff  and  in  the  Berlin  Museum  show 

[ XXXV ] 


INTRODUCTION 


large  griffons  seated  on  a  background  of  scroll  work  (see  Falke,  Figures  152,1  54). 

Much  closer  to  the  compositions  on  pottery,  however,  is  a  group  of  textiles 
discovered  mainly  in  Egypt,  in  which  arabesque  trees  are  enlivened  by  symmet- 
rical birds  or  griffons  (see  Falke,  Figures  361,362).  This  motif  was  very  much  in 
favor  with  the  Mohammadan  textile  designers.  It  also  occurs  in  Sicily  and  Spain 
(see  Falke,  Figures  207,  210)  and  is  later  taken  over  by  the  Italian  and  German 
textile  art  (see  Falke,  Figures  274,  278,  3  16). 

Cranes  or  storks  of  very  small  size  are  found  on  three  decorative  medallions  on 
ewer  Number  37,  while  a  single  crane,  heron  or  stork,  occurs  in  the  fourth  frieze 
of  Number  42.  The  crane  or  stork  is  a  Chinese  symbol  of  longevity  and  is  gener- 
ally represented  flying,  intermingled  with  Chinese  cloud  patterns,  but  it  is  scarcely 
possible  that  the  cranes  on  this  ewer  indicate  a  Chinese  influence.  There  is  not 
a  single  instance  of  Chinese  influence  in  the  Rhages  potteries. 

In  the  art  of  miniature  painting  the  Chinese  influence  makes  itself  strongly  felt 
around  1290,  but  hardly  before.  In  pottery  this  influence  probably  manifested 
itself  slightly  later.  In  the  bottle,  Number  3  8,  the  liveliness  of  the  interpretation 
may  be  due  to  an  acquaintance  with  Chinese  art.  The  large  vase,  Number  42, 
also  seems  to  have  a  slight  touch  of  Chinese  feeling,  which  is  more  strongly  ac- 
centuated in  the  lowest  frieze  of  the  Basilewski  vase. 

The  big  wave  of  Chinese  influence  sets  in  with  the  Sultanabad  potteries  of  the 
fourteenth  century,  which  are  full  of  Chinese  motives  and  symbols.  A  very  inter- 
esting example  of  Chinese  symbolic  animals  is  the  centre  of  the  large  copper  basin 
in  the  Kaiser  Friedrich  Museum  in  Berlin  with  its  flock  of  flying  cranes  (see 
Munich  Mohammadan  Exhibition,  Plate  148).  Symbolic  Chinese  phoenixes 
also  appear  on  the  sides  of  Number  47  and  its  mate  in  the  Doucet  Collection 
in  Paris.  We  will  not  enumerate  and  analyze  all  these  Chinese  symbolic  animals 
in  the  present  publication  as  the  potteries  under  discussion  include  only  two  Sul- 
tanabad specimens  that  show  the  Chinese  influence  clearly. 

It  would  lead  too  far  to  enumerate  all  the  ornamental  plant  motives  used  in 
the  group  of  Rhages  potteries.  The  most  interesting  plant  pattern  is  an  ornamen- 
tal plant  or  shrub,  of  which  there  is  a  particularly  good  example  on  Number  28. 
This  motif  is  derived  from  the  Assyrian  horns  or  sacred  tree  of  life,  which  consists 
of  a  central  shaft  entirely  encircled  by  a  row  of  palmetto  leaves  or  flowers.  It  is 
frequently  found  on  Assyrian  bas-reliefs,  with  demons  or  worshippers  in  opposite 
symmetrical  representation.  This  conventionalized  tree  of  life,  as  one  of  the  pre- 
ferred motives  of  Sassanian  art,  gradually  changes  its  form.  The  stem  becomes 
thin  and  is  surmounted  by  a  profusion  of  spiral  scrolls  with  palmetto  leaves.  In 
this  shape  it  is  frequently  found  in  textiles,  with  hunters,  kings  on  horseback,  or 

[  XXXVI  ] 


/ 


INTRODUCTION 

animals  in  opposite  symmetrical  representation.  A  similar  composition  is  also  fre- 
quent on  Sassanian  silver  platters. 

The  pattern  of  the  Sassanian  textiles  was  taken  over  by  the  silk  weaving  indus- 
try of  Alexandria  and  continues  its  life  in  Byzantine  and  Italian  weaves.  On  the 
other  hand,  the  sacred  tree  of  life,  in  its  Parthian  and  Sassanian  shape,  seemingly 
influenced  by  the  palmetto  plants  of  Greek  pottery  vases,  lives  on  in  Mohamma- 
dan  art,  and  we  find  it  very  frequently,  without  the  human  figures  or  animals, 
decorating  the  central  medallion  on  pottery  plates.  And  it  develops  gradually 
into  the  motif  of  the  arabesque  trees. 

The  lowest  frieze  of  Number  42  is  formed  by  an  undulated  stem  with  attached 
palmetto  leaves  and  flowers.  The  third  frieze  of  Number  41  also  shows  a  row 
of  palmetto  medallions.  These  two  motives  give  evidence  of  another  very  impor- 
tant evolution  of  plant  ornamentation,  which  is  closely  interwoven  with  that  of 
the  tree  of  life  and  the  arabesque  tree.  There  can  be  no  doubt  that  the  Assyrian 
palmetto  motives  that  are  found  encircling  the  tree  of  life  go  back  to  the  Egyp- 
tian lotus.  The  same  can  be  said  of  the  Greek  palmetto.  On  later  Greek  vases  the 
palmetto  is  developed  into  elaborate  plants  to  which  palmettos  are  attached  by 
spiral  scrolls.  The  Greek  and  the  Assyrian  palmetto  both  have  a  part  in  the  crea- 
tion of  the  Parthian  and  Sassanian  palmetto  ornamentation,  which  is  taken  over 
practically  without  change  by  primitive  Mohammadan  art.  Vase  Number  42 
shows  a  palmetto  ornamentation  of  a  strongly  archaic  character.  Number  41 
is  decorated  in  palmetto  motives  with  lanceolated  leaves.  In  the  thirteenth  and 
fourteenth  centuries  these  lanceolated  leaves  develop  into  what  is  known  as  ara- 
besque decoration.  The  arabesque  has  remained  a  stock  motif  of  Mohammadan 
ornamentation  down  to  the  present  day  and  has  preserved  the  spiral  stems,  its 
double  and  single,  curved,  lanceolated  and  partisan-shaped  leaves  and  strongly 
conventionalized  flower  motives. 

Simultaneously  with  the  development  of  the  arabesque,  there  slowly  evolves  a 
more  flowing  and  realistic  type  of  floral  ornamentation.  Its  first  appearance  dates 
as  far  back  as  the  Sassanian  silver  platters.  There  it  bears  a  strange  resemblance 
to  Chinese  peony  textile  patterns  of  the  Tang  period,  a  resemblance  not  entirely 
surprising;  for  there  has  been  a  continuous  influx  of  Chinese  silk  weaves  into  the 
Near  East  ever  since  the  early  days  of  the  Roman  Empire.  Sassanian  ornamenta- 
tion is  static,  built  up  on  vertical  and  horizontal  lines  and  the  circle.  Chinese 
ornamentation  is  flowing  and  rhythmic,  built  up  on  undulating  and  diagonal 
lines.  The  Chinese  peony  and  lotus  patterns  begin  their  penetration  of  the  Near 
East  at  the  time  of  the  Mongol  invasion.  Their  realistic  character  revives  what- 
ever of  naturalism  there  may  have  been  in  earlier  Mohammadan  interpretation 

[  XXXVII  ] 


INTRODUCTION 


of  plants;  and  there  grows  up  a  new  decorative  style,  which  may  best  be  charac- 
terized as  the  "Chinese  peony"  ornamentation. 

The  Rhages  polychrome  potteries  do  not  show  a  trace  of  this  style.  It  is  first 
seen  on  such  wares  as  the  huge  relief  vase,  Number  42,  and  its  mate,  the  Basilew- 
ski  vase;  and  it  indicates  that  these  vases  belong  to  a  period  slightly  later  than 
that  of  the  Rhages  wares,  let  us  say,  127  5- 1325.  The  Sultanabad  wares,  on  the 
other  hand,  are  entirely  within  the  range  of  Chinese  art,  and  must  therefore  be 
assigned  to  the  fourteenth  century. 

A  comparison  of  all  these  potteries  with  the  style  of  certain  dated  miniatures 
establishes  these  periods.  Number  47  and  46  are  typical  examples  of  Chinese 
peony  decoration. 

Representations  of  Old  Legends 

Pottery  painting,  as  we  have  said,  follows  the  miniature  painting  in  books.  The 
Near  Eastern  painters  have  confined  their  illustrations  to  a  very  narrow  range  of 
books.  First  among  them,  is  Firdusi's  great  epic  poem,  the  "Shahnameh,"  or  "Book 
of  the  Kings,"  which  contains  the  legends  of  ancient  Persia.  Each  painter  illus- 
trates almost  the  same  scenes  from  this  poem.  Types  are  soon  established.  Some 
of  these  types  are  borrowed  by  the  pottery  painters,  but  strangely  few  of  them. 
The  present  collection  contains  several  paintings  illustrating  the  story  of  Bahram 
Gur,  which  will  be  discussed  later.  The  only  other  scenes  mentioned  by  Schulz 
(page  61)  are  Feridun  riding  on  the  cow,  Purmaje,  and  the  blacksmith,  Kawe, 
with  Zohak  in  chains.  The  scene  of  Kaikawus  flying  towards  heaven  on  a  throne 
carried  by  four  young  eagles,  which  is  found  regularly  on  the  "Shahnameh"  man- 
uscripts and  is  such  a  frequent  motif  in  Eastern  Byzantine  and  Western  European 
art  has,  as  far  as  we  know,  never  been  found  on  potteries. 

There  are  a  few  other  compositions  which  as  yet  have  not  been  satisfactorily  ex- 
plained, such,  for  instance,  as  that  on  the  large  lustre  plate  formerly  in  the  Larkin 
Collection  in  London  (Riviere,  Plate  35).  Perhaps  the  fourth  frieze  on  Number 
42  represents  a  subject  of  legend  or  fable. 

Connoisseurs  among  the  Persians  like  to  designate  compositions  representing  a 
sultan  with  his  retainers  as  Darius  and  his  two  sons.  This  is  not  impossible.  A  cer- 
tain type  of  octagonal  bowl,  not  represented  in  the  present  collection,  shows  the 
god  Ormuzd  bestowing  the  crown  on  the  King  of  Kings  by  handing  him  a  wreath. 
The  composition  of  this  scene  follows  that  of  the  famous  Sassanian  stone  reliefs 
from  Tak-i-Bostan  and  Naksh-i-Rustem  and  is  an  interesting  survival  of  old  tra- 
dition. A  representation  of  Darius  in  mediaeval  Persian  pottery  would  not,  there- 
fore, be  surprising,  but  the  subject  is  not  definite  enough  to  allow  any  positive 
statement. 

[  XXXVIII  ] 


INTRODUCTION 


The  "Shahnameh"  manuscripts  are  abundant  in  compositions  showing  sultans 
receiving  ambassadors,  and  the  same  Persian  connoisseurs  like  to  identify  the  figu- 
ral  compositions  of  receptions  found  on  Sultanabad  potteries  with  diverse  historic 
and  legendary  subjects.  This  conjecture,  too,  may  be  true,  although  definite 
proofs  are  lacking. 

THE  STORY  OF  BAH  RAM  GUR 

THE  scene  of  king  Bahram  Gur  and  his  favorite,  hunting  the  gazelle  is  found 
on  Number  15  and  Number  26  of  the  present  collection. 
The  Sassanian  king,  Bahram  Gur  (Bahram  V.  420-438  A.  D.),  is  one  of  the 
most  picturesque  figures  in  Persian  history,  legend  and  literature.  His  adventures 
as  a  hunter  and  a  lover  have  inspired  the  greatest  poets  of  Persia.  Firdusi  describes 
his  exploits  extensively  in  the  "Shahnameh."  Nizami,  the  great  poet  of  the  twelfth 
century,  devotes  one  of  the  parts  of  the  "Khamse"  to  his  love  adventures.  In  the 
part  called  "Heft  Paiker"  he  tells  the  tale  of  the  seven  favorites  of  the  king.  The 
seven  pavilions  of  seven  different  colors — white,  black,  pink,  yellow,  red,  blue 
and  green,  with  the  princesses  in  garments  of  the  same  color,  are  the  delight  of 
the  miniature  painters,  who  never  tire  of  adorning  the  manuscripts  of  the  "Khamse" 
with  these  lovely  color  poems. 

We  show  in  Figure  8,  a  pottery  tile  of  the  thirteenth  or  fourteenth  century  be- 
longing to  the  Metropolitan  Museum  of  Art,  which  illustrates  the  story  of  Bahram 
Gur  hunting  the  gazelle  with  Azadeh.  It  is  perhaps  the  most  famous  of  the  leg- 
ends of  the  great  king,  and  has  for  centuries  been  an  inspiration  for  the  artists. 
An  identical  tile  is  in  the  collection  of  Mr.  Du  Kane  Godman  in  Horsham,  Eng- 
land. A  charming  Rhages  bowl  (twelfth  to  thirteenth  century)  with  the  same 
subject  was  exhibited  at  the  Mohammadan  exhibition  in  Munich  (see  Figure  9) 
and  a  similar  bowl  is  to  be  found  in  the  Mortimer  SchifT Collection  (Figure  7.) 
The  representation  is  practically  always  the  same — Azadeh,  riding  on  the  drom- 
edary behind  Bahram  Gur. 

It  may  be  worth  while  to  give  the  translation  of  the  passage  of  Firdusi's  "Shah- 
nameh," that  relates  the  adventure  of  Bahram  and  Azadeh.  The  translation  is  based 
on  the  French  version  by  Mohl  {^Le  livre  des  rots,  vol.  V,  page  405)  who  calls 
Azadeh  a  lute-player,  although  in  plastic  art  she  is  always  represented  playing 
the  harp.  As  far  as  we  know,  no  English  version  of  this  story  has  been  published 
until  now. 


[  XXXIX  ] 


WHAT  HAPPENED  WHEV^KINq  BAHRAtM  gU\^ 
WENT  HUNTINg  WITH  AZA£D E H,  THE 
BEAUTIFUL  J^UTE-TLATET^ 

King  Bahram  gur' s  greatest  delight  was  to  play  ball  on  the  <^iMeidan, 
And  often  he  played  with  the  racket ; 
Other  times  he  went  out  hunting. 

One  day  it  happened  that  he  went  hunting  without  his  retainers, 
Accompanied  only  by  the  beautiful  lute-player. 

The  name  of  the  "roumie"'  was  Azadeh; 
Her  cheeks  were  of  the  color  of  coral, 
She  charmed  his  heart,  she  shared  his  tastes, 
And  her  name  was  always  on  his  lips. 

For  this  hunting  trip  he  ordered  a  dromedary 

And  ordered  it  to  be  covered  with  a  saddle-cloth  of  brocade. 

Four  stirrups  were  attached  to  the  flanks  of  the  dromedary , 

Which  was  a  swift  runner  uphill  and  down. 

Two  of  the  stirrups  were  of gold,  two  were  of  silver, 

All  of  them  set  with  precious  stones. 

Bahram  carried  a  crossbow  under  his  quiver, 

For  he  was  skillful  in  everything. 

Two  pairs  of  gazelles  came  near, 

And,  smiling,  the  young  man  said  to  Azadeh: 

"Oh,  my  moon, 

After  I  have  drawn  my  bow  and  grasped  the  arrow  with  the  ring, 
W hich  of  the  gazelles  dost  thou  want  me  to  kill? 
Here  is  a  young  female,  and  here  is  an  old  male." 

Azadeh  answered: 
"  Oh,  lion, 

A  man  does  not  fight  gazelles. 

But  transform  this  female  with  thine  arrow  into  a  male, 

And  change  the  male  into  a  female, 

Then  goad  on  the  dromedary , 

And  when  a  gazelle  runs  away  from  thee, 

Hurl  the  dart  of  thy  crossbow, 

So  that  she  bends  her  ear  along  her  shoulder. 

[XL] 


Fig.  7.  Rhages  Polychrome  Pottery  Bowl.  Bahram  Gur  Hunting. 
Mortimer  Schiff  Collection,  New  York. 


INTRODUCTION 


The  dart  shall  tickle  her  ear  without  hurting  her 
<^And  she  shall  raise  her  foot  towards  her  shoulder. 
Then  thou  shalt  pierce  her  head,  foot  and  shoulder, 
^And  then  I  will  call  thee  the  light  of  the  world" 

W hen  *Bahram  heard  these  words,  he  remembered  an  old  proverb. 
But  he  drew  his  bow  and  shouted  loudly  over  the  silent  plain. 
He  had  in  his  quiver  an  arrow  with  two  points, 
Which  he  had  taken  with  him  to  the  plain 
To  use  in  the  hunt, 

<L/fnd  as  soon  as  the  gazelles  took fight, 

W ith  this  two-pointed  arrow 

He  took  off  the  horns from  the  head  of the  male, 

<tAndthe  male  became  thus  like  a  female, 

His  head  having  lost  the  black  horns. 

They oung  girl  marveled  at  his  skill. 

Then  the  hunter  planted  two  arrows  on  the  brow  of  the female, 
And  they  protrudedfrom  her forehead  like  two  horns, 
While  the  blood  flooded  the  breast  of  the  gazelle. 

Then  B  a  hr  am  goaded  the  dromedary  on  towards  the  other  pair. 

He  put  a  dart  in  the  hollow  of  the  crossbow, 

<iAnd  shot  it  towards  the  ear  of  one  of  the  gazelles. 

He  was  pleased  with  his  shot 

For  he  had  touched  the  spot  he  had  chosen. 

The  gazelle  at  once  began  to  scratch  her  ear 

^nd'Bahram  put  an  arrow  of  poplar-wood  on  his  bow 

<iAnd  sewed  together  the  head,  ear  and  foot  of  the  animal. 

zAzadeh  was  moved  to  pity  for  the  gazelle, 

iAnd*Bahram  said  to  her : 

"  W hat  troubles  thee,  Oh, face  of  the  moon  f* ' 

tAzadeh,  with  tears  streaming  forth from  her  eyes,  said  to  the  K^ng: 
uThis  is  inhuman;  thy  nature  is  not  that  of  a  man 
'But  that  of  an  evil  spirit  T 

'Bahram  stretched  out  his  hand. 

He  threw  her from  the  saddle  to  the  ground 

zjind  bade  his  dromedary 

Trample  the  girl  with  the  face  like  the  moon. 

[  XLIII  ] 


INTRODUCTION 

He  covered  her  breast,  her  hand  and  her  lute  with  blood. 
He  said: 

"Oh,  senseless  lute-player, 
Why  didst  thou  try  to  trick  me? 

If  I  had  missed  my  shot,  my family  would  have  been  covered  with  shame! ' ' 

<i_Azadeh  died  under  the  hoofs  of  the  dromedary 
'tAnd^ahram  never  again  took  a  woman  with  him 
W hen  he  went  out  to  hunt. 

Scenes  of  Contemporaneous  Life 

In  compositions  that  reflect  contemporaneous  life  the  pottery  painter  is  again 
the  pupil  of  the  miniature  painter,  if  not  identical  with  him.  But  certain  differ- 
ences are  to  be  noted  between  the  paintings  on  pottery  and  miniature  paintings. 
The  miniature  paintings  show  royal  life  in  its  main  aspects — battles,  receptions, 
hunting  scenes,  pleasure  parties  in  the  garden  and  games  such  as  polo  play.  Yet, 
though  bloodthirsty  battle  scenes  are  only  too  abundant  in  the  manuscripts  of 
the  "Shahnameh,"  we  have  not  yet  seen  a  single  piece  of  pottery  upon  which  a 
battle  orfight  is  represented.  It  seems  that,  while  the  Persiansofthe  thirteenth  cen- 
tury liked  to  stir  their  imagination  after  the  meal  with  scenes  of  grewsome  and 
bloody  heroism,  the  graceful  forms  of  dancers  and  musicians  were  considered  a 
more  appropriate  decoration  for  the  pilaf-platter  than  the  tiger-skin  and  steel- 
plate  armor  of  Rustan. 

There  is  also  little  gusto  among  the  potters  for  the  deliberations  of  the  state 
council  or  the  receptions  of  ambassadors  by  the  sultan  on  the  throne.  Enthroned 
sultans  are  numerous  on  potteries,  but  their  ears  are  not  open  to  the  grave  words 
of  the  Grand  Vizier  or  to  the  important  message  of  the  Great  Khan  of  the  Mon- 
gols. Their  attention  is  bent  only  upon  the  cup-bearer,  the  singers,  the  dancers 
and  musicians.  It  seems  that  the  Persians  of  the  thirteenth  century  did  not  like 
to  be  reminded  during  their  meals  of  the  hardships  of  government  and  office  busi- 
ness which  preceded  the  hours  of  the  meal,  but  enjoyed  a  foretaste  of  the  abun- 
dant cup,  of  the  singing,  dancing  and  music  that  was  waiting  for  them  after  the  re- 
past. 

Hunting  scenes  are  most  abundant  and  games  like  polo  certainly  have  a  more 
prominent  place  in  the  pottery  than  in  miniature  painting. 

There  is  yet  another  striking  difference  between  the  paintings  on  pottery  and 
the  miniatures.  The  latter,  particularly  those  of  the  fourteenth  century,  aim  at 
an  interpretation  of  interiors  and  landscapes  that  seems  at  the  first  glance  con- 
ventional but  that  reveals  to  the  attentive  eye  a  varied  and  suggestive  rendering 

[XLIV] 


Fig.  8.  Pottery  Tile.  Bahram  Gur  Hunting.  Persia,  14th  century. 
Metropolitan  Museum  of  Art,  New  York. 


Fig.  9.  Rhages  Polychrome  Pottery  Bowl,  Bahram  Gur  Hunting. 

Persia,  13th  century. 


INTRODUCTION 


of  mountains,  meadows,  houses  and  rooms  with  their  walls,  ceilings  and  floors 
shown  in  quaint  detail.  Very  justly  the  pottery  painter  adapts  himself  to  his  ma- 
terial and  omits  systematically  everything  that  may  be  called  background.  The 
rendering  of  landscape  and  of  the  rich  setting  of  an  oriental  interior  would  mean 
confusion  in  his  composition.  But  in  spite  of  the  absence  of  background  his  art 
supplies  an  astonishing  number  of  details  which  reveal  the  everyday  life  of  the 
times.  The  pieces  in  the  present  collection  alone  furnish  sufficient  data  to  enable 
one  to  make  an  imaginary  journey  through  Persia  of  the  thirteenth  century. 

Riding  on  Horse  and  Camel 
One  may  go  on  horseback,  or  riding  on  a  camel,  like  King  Bahram  Gur  (Num- 
ber 26).  The  riding  horse  has  rich  trappings.  The  bridle  and  the  leather  work 
of  the  saddle  are  more  elaborate  than  they  are  in  present-day  Persia.  A  thick 
leather  necklace  runs  around  the  upper  part  of  the  horse's  neck;  otherwise,  bridle, 
bit  and  other  parts  of  the  harness  are  like  those  of  horses  today.  The  saddle  is  fas- 
tened by  a  broad  belt  around  the  body  of  the  horse.  One  leather  strap  with  a 
pompom  or  floating  horsetail  to  keep  off  flies  encircles  the  breast  of  the  animal; 
another  leather  strap  passes  underneath  the  tail.  This  latter  strap  sometimes  has 
tasseled  pendants  on  either  side — also  to  keep  off  the  flies.  The  saddle  is  very 
low — not  so  high  as  the  Sassanian  saddle  on  Figure  2,  which  strangely  resembles 
the  saddle  of  the  American  Far  West,  and  it  rests  on  an  elaborately  embroidered 
and  bordered  cloth,  decorated  on  the  edge  with  pompoms  (Figure  10)  or  fringe 
(Number  34).  The  leather  work  of  the  harness  seems  to  be  studded  with  gold. 
The  tails  of  the  horses  are  long  and  wavy  and  often  tied  in  a  knot  (Number  26 
and  Figure  1  3). 

The  trappings  of  the  riding  camel  are  similar  to  the  horse  trappings  (Number 
26  and  Figure  9).  The  front  strap  of  the  saddle  is  missing,  but  the  neck  of  the 
camel  is  encircled  near  the  body  by  a  strap  on  which  a  large  pompom  or  a  bell 
may  be  suspended.  The  humps  are  covered  with  a  large  cloth,  perhaps  a  pile  rug. 
On  this  rests  a  thick  oval  cushion  to  which  the  saddle  is  attached.  Ladies  travel, 
of  course,  in  a  palanquin,  such  as  is  sometimes  observed  on  thirteenth  century 
miniatures. 

Furniture  and  Interiors 

We  arrive  at  the  Sultan's  palace.  The  miniatures,  but  not  the  pottery  paintings, 
tell  us  of  the  tiled  walls  with  windows  of  stained  glass  set  into  plaster  frames,  the 
brocaded  draperies,  the  vaulted  ceilings  with  fresco  paintings,  the  rug-covered 
tile  floors.  But  the  pottery  paintings  give  us  certain  information  about  furniture 
and  utensils. 

[  XL VII  ] 


INTRODUCTION 


The  furniture  is  extremely  scant.  Chairs  and  couches,  though  known  in  Sassa- 
nian  times  (Figure  i),  were  not  in  favor  with  the  Arabs  and  were  not  reintro- 
duced until  after  the  Mongol  conquest.  Chairs  are  accordingly  represented  on 
Sultanabad  potteries  (Number  47)  but  never  occur  on  Rhages  ware.  The  Per- 
sian house  of  the  thirteenth  century  must  have  had  as  little  furniture  as  the  mod- 
ern Japanese  house,  where  everybody  sits,  eats,  and  sleeps  on  the  floor.  The  only 
piece  of  furniture  represented  on  the  Rhages  potteries  is  the  throne. 

The  throne  is  raised  about  a  foot  from  the  ground.  It  stands  on  four  or  six  legs 
made  of  turned  wood  (Figure  1  2).  The  seat  is  wide  and  comfortable  and  is  cov- 
ered with  a  brocade  spread  and  cushions  (Number  16).  The  back  is  high,  sometimes 
supported  by  only  two  posts,  but  generally  by  four.  In  the  latter  case,  it  is  like  a 
threefold  screen  with  a  large  centre  panel.  The  four  posts  end  in  turned  and  gilt 
finials,  sometimes  adorned  with  horsetails.  The  back  of  the  throne  is  always  cov- 
ered with  rich  brocade  hangings. 

Food  and  Table  Service 
Bowls  of  fruit  and  water  vessels  stand  on  the  floor  (Number  30)  or  on  trays 
with  high  standards  (Figure  3  8).  Only  in  Mongolian  times  is  food  served  on  thin, 
folding  tables  of  red  lacquer,  which  are  carried  in  by  the  servants,  covered  with 
porcelain  bottles  and  bowls.  The  pottery  vessels  themselves  give  us  a  clear  idea 
of  the  bowls,  dishes,  pitchers  and  ewers  that  were  in  use.  Those  that  are  made  of 
porous  clay,  only  partly  enameled,  may  have  served  as  water  coolers  (Number 
36  and  Figure  61).  We  may  suspect  bottles  with  narrow  necks  to  have  con- 
tained liquids  of  a  subtle  perfume  not  in  favor  with  the  Prophet,  which  must  not 
evaporate  (Figure  69).  The  drinking  vessels  are  pottery  goblets,  like  Number 
1 1,  or  cylindrical  and  enameled  glass  goblets,  widening  and  flaring  towards  the 
top.  Such  goblets  have  been  discovered  in  great  numbers  and  we  often  find  them 
represented  in  the  pottery  paintings  (Numbers  13  and  16,  Figures  12  and  11, 
Numbers  1  8  and  3  1,  etc.). 

Dress 

The  Rhages  pottery  paintings  give  us  an  almost  complete  picture  of  Persian 
costume  in  the  thirteenth  century.  One  fact  is  striking.  Males  and  females  are 
extremely  hard  to  distinguish  by  their  dress.  This  fact  is  a  continuous  source  of 
error  to  the  gravest  critics  and  historians  of  art.  A  similar  confusion  still  reigns, 
by  the  way,  in  the  miniature  paintings  of  the  sixteenth  century,  but,  considering 
the  customs  of  the  land,  the  ambiguity  may  be  not  without  intention. 

In  the  Arabic  miniatures  of  the  thirteenth  century  {Dioscorides  of  1222)  we 
find  large  floating  burnouses.  They  are  entirely  absent  in  the  Persian  pottery  and 

[  XLVIII  ] 


INTRODUCTION 


miniature  paintings.  The  turban,  too,  is  very  frequent  in  the  Arabic  miniatures, 
but  rarely  met  with  in  the  Persian  potteries.  It  is  found  on  a  Mossoul  candlestick  of 
the  fourteenth  century  (Figure  3  8)  and  on  a  fourteenth  century  tile  (Figure  1  3) 
at  the  Metropolitan  Museum;  on  the  representations  of  Bahram  Gur  (Number  26 
and  Figure  9)  and  on  a  certain  number  of  the  dancers  (Number  40).  But  the 
general  headgear  for  men  as  well  as  for  women,  as  shown  in  several  hundred  spec- 
imens, is  a  little  felt  cap  in  diverse  colors,  resembling  a  Turkish  fez,  but  lower. 
Its  manufacture,  like  that  of  the  Turkish  fez,  necessitates  a  little  stem  at  the  top 
which  is  always  clearly  indicated  in  the  miniatures,  and  which  is  not  to  be  con- 
fused with  an  aigrette,  as  it  is  by  Schulz  in  his  commentary  on  Figure  1 1.  Some- 
times this  bonnet  seems  to  be  decorated  in  front  with  a  button  or  round  gold 
ornament  (Number  34).  The  figure  to  the  right  in  Number  3  3  wears  a  charming 
bonnet,  higher  than  the  usual  caps.  It  is  made  of  a  dark  blue  fabric,  bordered  with 
gold  trimming  and  covered  with  golden  embroidered  trefoils  and  dots.  In  other 
quite  frequent  cases  the  fez  is  wound  around  with  a  strip  of  thin  muslin,  often 
embroidered.  The  ends  of  the  muslin  float  in  the  air  like  streamers  (Numbers  1  3 
and  14).  This,  as  the  representations  on  pre-Mohammadan  art  show,  is  an  old  Sas- 
sanian  fashion.  The  people  of  the  lower  classes  seem  to  wear  a  high,  conical  fur 
bonnet,  such  as  that  of  the  digger  or  wood-chopper  in  Number  42  and  that  of  the 
camel-driver  in  Number  23.  In  the  Arabic  miniatures  of  the  thirteenth  cen- 
tury we  frequently  find  a  strange  headgear  for  men,  resembling  the  grenadiers' 
bonnets  of  the  eighteenth  century.  The  head  is  covered  by  a  round,  high  cap  in 
felt  orleather,  which  is  bordered  all  around  by  a  brim  of  leather  orfur  which  curves 
up  in  the  front  and  rear  and  is  sometimes  decorated  with  an  aigrette.  The  two 
hunters  on  horseback  represented  in  Number  20,  wear  this  headgear  (see  also 
the  warrior  from  the  Dioscorides  of  1223,  Figure  26). 

The  heads  of  a  number  of  sultans,  hunters  and  retainers  on  the  Rhages  pot- 
tery paintings  are  surrounded  by  a  halo.  With  us,  the  halo  indicates  sanctity.  In 
Mohammadan  miniatures  and  in  pottery  paintings  the  halo  has  certainly  not  this 
meaning.  It  seems  to  have  been  used  only  to  put  the  heads  of  important  person- 
ages into  greater  prominence.  Schulz  gives  a  long  dissertation  on  the  evolution  of 
the  halo  on  pages  64-66  and  comes  to  the  convincing  conclusion  that  the  halo 
was  originally,  in  Buddhistic  as  well  as  in  Greco-Roman  art,  a  symbol  of  power, 
not  of  sanctity.  The  Persian  halo  probably  comes  from  India  and  Central  Asia, 
not  from  the  Byzantine  West.  From  a  symbol  of  power  it  degenerates  into  a 
purely  ornamental  motif,  and  is  sometimes  misinterpreted,  as  on  the  sultan  in 
Number  16. 

Much  has  been  written  concerning  the  manner  of  dressing  the  hair  among  both 

[XLIX] 


INTRODUCTION 


men  and  women  (see  Schulz,  page  62).  Two  types  of  coiffure  are  to  be  observed 
on  the  potteries.  In  the  one,  worn  by  the  horsemen  of  Figures  32,  33  and  10, 
the  hair  falls  in  front  of  the  ears  and  is  cut  short  at  the  neck,  like  modern  "bob- 
bed" hair.  In  the  other,  worn  by  the  horsemen  in  Figure  33,  Numbers  14  and  34, 
a  long  flowing  lock  or  perhaps  braid,  hangs  on  each  side  of  the  face.  In  the  case  of 
horsemen,  there  can  be  no  doubt  of  the  sex.  But  both  of  these  types  of  coiffure  also 
occur  in  representations  of  women.  In  Figure  9  Azadeh  has  "bobbed"  hair  and 
the  musicians  of  Number  1 1  whom  we  can  safely  anticipate  to  be  females,  have 
both  "bobbed"  and  long  hair,  worn  exactly  like  that  of  the  horsemen. 

To  increase  the  confusion  between  the  sexes,  the  thirteenth  century  in  Persia 
seems  to  have  been  a  clean-shaven,  beardless  century.  We  are  accustomed  to  con- 
sider the  beard  as  the  inevitable  attribute  of  manhood  in  the  Near  East,  yet  even 
in  Sassanian  times  we  find  clean-shaven  men  (Figure  14)  and  bearded  kings 
(Figure  1)  side  by  side.  Although  bearded  people  are  frequently  represented 
on  the  Arabic  miniatures  of  the  thirteenth  century,  they  are  non-existent  in  the 
Persian  potteries  of  the  thirteenth  century.  Bahram  Gur,  alone,  is  always  repre- 
sented bearded  (see  Number  26,  Figures  9,  7  and  8).  The  beard  seems  to  char- 
acterize him  as  a  king  of  the  past.  Only  during  the  fourteenth  century  does  the 
beard  again  become  fashionable  in  Persia. 

The  garments  of  men  and  women  are  exactly  alike.  Both  wear  long  caftans 
reaching  almost  to  the  ground,  with  wide  sleeves  and  with  necks  cut  like  those  of 
modern  Caucasian  caftans.  The  right  side  of  the  coat  leaves  the  throat  bare  and 
runs  in  an  elegant  curve  to  the  left  armpit,  where  it  is  fastened  with  ribbons,  for 
buttons  were  not  introduced  into  Persia  until  the  second  part  of  the  sixteenth 
century.  Sometimes  a  floating,  graceful  caftan-like  garment  is  worn,  open  and 
unfastened,  on  top  of  the  caftan  (Figure  1  2  and  Number  1  3). 

Many  of  the  figures  represented,  whether  sultans  or  retainers,  men  or  women, 
wear  a  characteristic  ornament  on  the  sleeve  around  the  upper  arm — the  famous 
Tiraz  ribbon  decorated  with  Cufic  inscriptions  or  ornamental  patterns.  Itis  prob- 
ably gold-woven  or  gold-embroidered  ribbon.  Somewhat  analogous  are  Egyptian 
and  Spanish  Moorish  muslins  with  interwoven  inscriptions  in  eulogy  of  sover- 
eigns, which  date  from  the  eighth  to  the  twelfth  century  (see  for  instance  speci- 
mens in  Munich  Moh.  Exh.  plate  178  and  in  Guest,Notice  on  Inscriptions,  1906.) 

We  may  also  mention  the  gold-woven  galoons  from  Mohammadan-Sicilian 
looms  (see  Falke  Figure  194,  196).  The  earliest  weaves  with  inscriptions  are 
Coptic  tapestry-woven  garments  with  Greek  or  Coptic  inscriptions  (see  speci- 
men at  Cooper  Union,  with  inscription,  "Hagios").  The  wearing  of  sleeve  ribbons 
in  Persia  is  said  to  be  a  Sassanian  custom,  the  breadth  of  the  ribbon  indicating 


Fig.  io.  Polychrome  Pottery  Bowl.  Rhages,  13th  century. 
Metropolitan  Museum  of  Art,  New  York. 


INTRODUCTION 


the  rank  of  the  wearer  (see  Kremer,"Kulturgeschichte  des  Orients,"  II,  page  292; 
Schulz,  page  63).  Certain  it  is  that  Tiraz  ribbons  are  extremely  frequent  on  the 
miniature  paintings  of  the  Abbasid  school  and  on  Rhages  potteries.  They  seem 
to  have  gone  out  of  fashion  when  the  Chinese  style  of  dress  became  prevalent  in 
the  Ne'ar  East,  for  they  are  missing  on  the  Sultanabad  potteries  and  on  the  mini- 
ature paintings  of  the  Mongolian  school. 

The  costume  worn  by  the  two  figures  on  bowl  Number  33  is  very  unusual.  It 
is  best  discernible  on  the  harpsichord  player  to  the  right.  It  consists  of  a  long  un- 
dergarment of  brocade,  reaching  down  to  the  feet.  The  sleeves  are  long  and  flow- 
ing, decorated  with  a  pattern  of  geometrical  interlacings.  On  top  of  this  garment 
a  brocaded  overblouse  is  worn.  The  overblouse  of  the  figure  to  the  right  is  dark 
blue  with  golden  dots.  It  reaches  almost  to  the  knee  and  the  hem  seems  to  be  cut 
in  points  or  scallops.  It  is  close-fitting  around  the  neck.  The  short  sleeves  come 
only  to  the  middle  of  the  upper  arm  and  have  Tiraz  galoons.  The  length  of  the 
overblouse  of  the  left  figure  is  not  clearly  indicated.  It  is  light  blue  with  golden 
dots  and  around  the  neck  is  a  broad  white  collar  dotted  with  gold,  which  runs 
from  the  right  shoulder  to  the  left  armpit,  the  usual  caftan  cut.  We  may  also  no- 
tice the  elegant  white  shoe  with  golden  dots  of  the  woman  to  the  right,  and  her 
high,  gold-embroidered  blue  bonnet. 

The  representations  of  horsemen  show  that  the  long,  baggy  Sassanian  trousers 
are  no  longer  worn  under  the  caftan,  but  shorter  and  narrower  trousers,  which, 
for  riding,  are  thrust  into  high  leather  boots  that  reach  the  knees  and  are  deco- 
rated with  gold  tooling  (Number  34).  In  ordinary  occupations  men  and  women 
seem  to  wear  light  slippers.  The  garments  are  of  silk  brocade,  the  patterns  of 
which  are  discussed  in  a  separate  chapter. 

Music  and  Musical  Instruments 

The  pottery  paintings  give  us  a  good  idea  of  the  musical  instruments  of  the  per- 
iod. We  find  an  orchestra  of  harp  and  tambourine  on  Number  15  and  on  Num- 
ber 16;  on  the  latter  piece  two  entertainers  hold  in  their  hands  round  objects  that 
may  be  a  kind  of  castanet.  Figure  1  2  shows  tambourine,  harp  and  mandolin; 
Figure  1 1  two  mandolins  and  a  flat  chord  instrument,  probably  identical  with 
the  Hungarian  cembalon.  Guitars  are  very  rarely  found  on  Persian  potteries. 

A  very  curious  musical  instrument  is  represented  on  Number  33.  It  forms  a 
triangle  with  the  longest  side  gently  curved.  The  player  seems  to  touch  the  chords 
with  the  right  hand,  and  a  row  of  pegs  or  keys  with  the  left.  It  is  impossible  to 
make  out  whether  this  instrument  is  a  zither  or  a  primitive  clavichord. 

Another  musical  instrument  of  cembalon  or  clavichord  shape  is  found  on  Num- 

[liii] 


I 


INTRODUCTION 

ber  48.  The  musician  holds  in  his  left  hand  a  stick,  which  looks  rather  like  a  fly- 
brush.  Such  chord  instruments  were  known  in  the  Near  East  in  ancient  times. 
An  example  has  been  found  on  the  Assyrian  reliefs  in  Kouyounchik,  that  dates 
from  the  seventh  century  B.  C.  (see  Layard,  "Discoveries  Among  the  Ruins  of 
Nineveh  and  Babylon,"  page  3  3  8).  A  similar  modern  Persian  instrument  is  called 
santour.  It  consists  of  a  number  of  strings,  stretched  over  a  hollow  case  or  sound- 
ing board.  The  strings,  pressed  with  the  fingers  of  the  left  hand  to  produce  the 
notes,  are  struck  with  a  small  wand  or  hammer  held  in  the  right  hand. 

On  Number  42  is  a  large  orchestra,  consisting  of  flute,  tambourine,  small  harp, 
kettledrum  and  large  mandolin.  Three  people  without  instruments  sing  or  listen 
to  the  music.  A  complete  orchestra,  one  may  surmise,  would  consist  of  mando- 
lins, guitars,  flutes,  tambourines,  cembalon  and  harp.  Such  an  orchestra  is  ex- 
tremely fit  for  the  vivid  staccato  of  dance  music,  but  the  flute  is  the  only  instru- 
ment that  can  render  the  legato  of  the  lyrical  moods  in  which  Oriental  music  is 
so  rich,  for  the  violin  had  not  yet  been  invented.  It  is  very  probable  that  the  hu- 
man voice  played  an  important  role  in  this  simple  orchestra,  as  it  does  in  modern 
Oriental  music,  where  the  strange  and  subtle  modulations  of  the  song  are  beauti- 
fully emphasized  by  an  accompaniment  that  ebbs  orflows  like  the  waves  of  the  sea. 

It  may  be  remarked  in  parenthesis  that  the  Near  East  is  the  creator  of  the  mod- 
ern military  brass  band.  Two  such  brass  bands  composed  of  hand  drums,  ket- 
tle drums  and  long  straight  trumpets,  are  represented  inthe  "Treatise  on  Automata" 
as  executing  the  Naubat^  or  royal  music,  three  times  a  day  before  the  palace  gate. 

Court  Ceremonials  and  Entertainments 

These  figures  in  their  gay  costume — attendants,  musicians  and  singers — are  mov- 
ing around  the  central  figure  of  the  sultan  on  the  throne.  As  we  have  seen,  all  the 
representations  of  the  thirteenth  century  show  him  reveling,  the  goblet  of  wine 
in  his  hand,  dancers,  singers  and  musicians  around  him.  The  dignified  represen- 
tations of  Sassanian  times  have  disappeared.  Certain  miniatures  of  the  Mongolian 
period,  however,  show  the  sovereign  of  the  state  in  dignified  attitude  on  the  throne, 
the  sultana  and  heir  apparent  on  either  side,  retainers  close  by,  and  foreign  ambas- 
sadors standing  in  respectful  attitudes  (see  title  illustration  of  "Jami-al-Tawarik" 
in  the  Bibliotheque  Nationale,  Martin,  "Miniatures,"  plate  43). 

In  a  description  of  the  bowl  of  Mr.  Peytel  in  Paris  (see  Figure  1 1),  which  is  the 
mate  of  Number  16  in  the  present  collection,  Schulz  (page  63)  says  that  this 
composition  is  a  representation  of  the  Seljucide  court  ceremonial  which  had  been 
taken  over  by  the  Mongol  rulers.  The  heir  apparent  stands  on  the  right  of  the 
throne;  on  the  left,  the  sultana.  The  person  to  the  right  wears  short  locks,  while 

[liv] 


Fig.  ii. 


Pottery  Bowl.  Rhages,  I2th-I3th  century. 
Peytel  Collection,  Paris. 


Fig.  12.  Pottery  Bowl.  Rhages,  Persia,  I2th-i3th  century. 
Metropolitan  Museum  of  Art,  New  York. 


Fig.  13.  Relief  Tile.  Persia,  14th  century.  Metropolitan  Museum  of  Art,  New  York. 


Fig.  14.  Silk  Brocade,  Sassanian,  6th  century  A.  D.  Berlin,  Kunstgewerbemuseum. 


INTRODUCTION 


the  left  one  has  four  braids  and  an  aigrette.  Our  own  interpretation  of  this  scene 
is  different.  The  figures  on  either  side  of  the  sovereign  are  quite  in  keeping  with 
the  frieze  of  singers  and  musicians  on  the  sides.  They  are  dancers.  The  typical  dan- 
cing representation  in  Near  Eastern  art  is  rather  stiff  and  conventional,  without 
any  capacity  of  rendering  the  slow,  graceful  rhythm  of  the  body.  The  dancers 
simply  raise  one  leg  to  about  the  height  of  the  knee  of  the  other  leg.  The  render- 
ing of  the  arms  is  stiff  and  contributes  in  no  way  to  making  the  representation 
more  lively.  We  find  such  dancers  as  these  on  the  famous  enameled  platter  in  the 
Ferdinandeum  in  Innsbruck,  on  the  carved  ivory  placques  in  the  Carrand  Col- 
lection in  the  Bargello,  Florence  (Munich  Mohammadan  Exhibition,  Plates  159, 
253),  and  also,  unmistakably,  on  the  Peytel  bowl  and  on  Numbers  18  and  3  1 
of  the  present  collection.  The  row  of  dancers  in  Number  40  is  represented  in  ex- 
actly the  same  attitude.  Schulz  (page  68)  comments  upon  this  attitude  of  stand- 
ing on  one  leg  but  does  not  come  to  any  definite  conclusion  about  it.  The  explan- 
ation, however,  seems  to  be  self-evident.  In  cases  where  the  dancing  movement  is 
not  cleary  defined  we  would  ratherinterpret  the  figures  on  either  side  ofthe  throne 
as  attendants.  It  seems  perfectly  logical  that  the  dancers  stand  quite  near  the  sover- 
eign, while  the  orchestra  and  singers  who  accompany  the  dance  are  arranged  in 
a  circle  around  the  central  group.  A  representation  of  a  sultan  in  state,  such,  for 
instance,  as  is  on  the  candlestick  Figure  38,  from  the  Metropolitan  Museum  of 
Art,  is  found  very  rarely. 

Another  type  of  composition,  which  gave  origin  to  numerous  delightful  idyllic 
scenes  in  the  miniature  paintings  of  the  sixteenth  century,  shows  a  young  couple, 
probably  the  Sultan  and  his  favorite,  in  a  garden  in  the  shade  of  flowering  almond 
trees  and  dark  cypresses  on  the  bank  of  a  brook.  A  similar  composition  is  found 
on  bowls  Numbers  13  and  22  of  the  present  collection.  Number  33  may  per- 
haps represent  the  same  scene,  perhaps  a  couple  of  musicians. 

Dancing 

In  the  Orient,  the  dance  is  generally  conceived  as  a  performance  of  one  person 
or  several  persons  of  the  same  sex  before  a  group  of  spectators.  The  Western  mode 
of  dancing  couples  is  considered  highly  improper  in  the  East,  where  dance  is  con- 
sidered as  a  play  of  the  imagination,  not  of  the  muscles.  There  is,  however,  a  third 
form  of  dancing,  in  fashion  during  the  middle  ages  in  the  European  countries, 
which  is  performed  by  a  long  row  of  dancers,  men  and  women  in  alternation, 
holding  one  another  by  the  hands.  This  type  of  dancing  is  called  "bailer"  in  old 
French.  It  is  always  accompanied  by  the  singing  of  the  performers.  Their  song  is 
called  "ballade"  and  is  generally  an  idyllic  tale  of  the  girl  going  to  the  wood  or 

[lix] 


INTRODUCTION 


fountain  and  meeting  her  lover  while  the  nightingale  sings.  The  German  "reigen" 
is  the  same  dance.  Vase  Number  40  shows  a  similar  dance  in  the  East.  Several 
other  relief  vases  and  pitchers  ornamented  with  this  subject  have  been  preserved, 
but  so  far  as  we  know  it  is  never  represented  in  Rhages  pottery  nor  in  minia- 
tures, nor  any  other  form  of  art.  The  dancers  hold  hands  in  such  a  way  as  to  form 
two  interlocked  chains.  This  would  mean,  that,  if  there  are  couples  dancing,  the 
women  form  one  chain,  the  men  the  other.  But  neither  turbans  and  bonnets,  nor 
bobbed  hair  and  flowing  tresses  are  a  clear  indication  of  sex,  and  Oriental  custom 
would  rather  speak  against  the  two  sexes  dancing  together.  The  movement  of 
the  dancers  is  the  same  as  in  the  representations  of  single  dancers.  Similar  dances 
are  danced  today  in  Northwestern  Persia,  although,  it  seems,  only  by  the  men. 

Arms 

The  paintings  on  pottery  are  of  a  thoroughly  pacific  character.  They  tell  but 
little  of  the  armor  and  weapons  of  which  the  miniature  paintings  tell  so  much. 
The  lion  hunters  in  Number  20  have  straight  swords.  In  spite  of  the  tradition 
that  the  curved  scimitar  is  the  weapon  of  the  Near  East,  heroes  and  kings  on  the 
Sassanian  stone  reliefs  are  always  shown  with  similar  straight  heavy  swords.  The 
invading  Mongols,  too,  possessed  long,  straight  swords,  as  shown  by  several  spec- 
imens in  the  armor  collection  in  Vienna,  decorated  in  gold  and  silver  inlay  with 
the  fight  of  the  dragon  and  the  phoenix  (see  Munich  Mohammadan  Exhibition, 
Plate  236).  The  I  ndian  long  straight  swords  for  one  or  two  hands,  dating  from  later 
periods,  are  also  well  known.  In  the  miniature  paintings,  the  sword  is  generally 
worn  on  the  left,  while  quiver  and  bow  case  are  carried  on  the  right.  The  hunting 
Bahram  Gur  has  a  strong  bow  (Number  26  and  Figure  9)  and  carries  the  bow 
case  attached  to  the  left  side  of  the  camel.  Sword  and  bow  seem  to  be  the  only 
weapons  used  for  hunting,  the  long  spear  being  reserved  for  warfare. 

Hunting 

The  Persian  potteries  give  us  all  kinds  of  information  on  hunting.  The  Persians 
often  replace  the  hunting  dog  by  the  tame  leopard,  which  sits  behind  the  huntsman 
on  the  horse,  as  in  Number  18  and  Figure  2.  The  custom  of  hunting  with  the 
lalcon  was  probably  brought  by  the  Turks  from  the  steppes  of  central  Asia  to  Persia. 
The  representations  of  falconry  are  very  frequent  on  pottery.  Falconers  are  repre- 
sented in  Numbers  18,  34  and  Figure  10.  The  representation  in  Number  1  8  is 
particularly  explicit,  showing  the  falcon  held  on  the  hands  of  the  hunter,  and  an- 
other composition,  on  Numbers  1  8  and  3  4,  shows  the  falcon  soaring  into  the  air  in 
pursuit  of  an  invisible  heron.  Bahram  Gur,  as  we  have  seen,  hunts  the  gazelle, 
and  the  hunters  on  Figure  13  seem  to  pursue  a  stag.  The  hunters  in  Number 

[lx] 


Fig.  15.  Pottery  Ewer  with  Relief  Decoration.  Persia,  about  1300. 
Metropolitan  Museum  of  Art,  New  York 


INTRODUCTION 


20  are  fighting  a  lion,  an  event  probably  more  in  accord  with  Sassanian  tradi- 
tion and  pious  wish,  than  with  reality. 

Equestrian  Sports 

The  Persians  have  always  been  famous  for  their  prowess  in  hunting  and  riding. 
Persian  art  is  abundant  in  representations  of  men  engaged  in  all  kinds  of  eques- 
trian sports.  The  best  known  representations  are  those  of  polo  play.  This  modern 
game  originated  in  India.  That  it  became  known  in  Persia  at  an  early  date  is 
proved  by  the  numerous  representations  of  galloping  polo-players,  with  their 
characteristic  long  sticks,  that  occur  on  pottery,  bronze  and  glass  vessels  of  the 
twelfth  and  thirteenth  centuries.  Number  26  of  the  present  collection  shows 
an  unmistakable  representation  of  at  least  one  polo  player.  Number  42  and  its 
mate,  the  famous  Basilewski  vase,  show  an  unmistakable  representation  of  a  polo 
team,  while  two  of  the  horsemen  on  Number  2  1  also  seem  to  carry  polo  sticks. 
However,  this  latter  representation  is  not  very  clear.  For  the  sake  of  comparison 
we  reproduce  a  detail  of  a  bronze  basin  of  the  collection  of  the  Prince  of  Aren- 
berg  in  Brussels  (Figure  84).  The  motif  of  polo  players  apparently  does  not  oc- 
cur in  the  miniature  paintings  of  the  thirteenth  century,  but  it  is  quite  frequent  in 
the  sixteenth  century  miniature  paintings  of  the  school  of  Behzad. 

Polo  playing  is  not  the  only  equestrian  sport  represented  on  Rhages  pottery 
vases.  Number  14  shows  a  horseman  riding  with  both  arms  raised.  He  is  evidently 
not  using  the  bridle.  We  may  assume  that  this  charming  little  composition  rep- 
resents a  man  showing  his  equestrian  skill  by  riding  his  horse  with  only  the  direc- 
tion of  knees  and  feet. 

There  is  another  still  more  surprising  type  of  composition.  In  the  polo  playing 
scenes  not  all  of  the  horsemen  carry  polo  sticks.  This  might  refer  to  an  older  form 
of  the  game,  but  there  are  also  compositions  in  which  none  of  the  horsemen  carry 
polo  sticks,  for  instance,  on  the  beautiful  Syro-Egyptian  glass  bottle,  belonging 
to  Count  Pourtales  (Munich  Mohammadan  Exhibition,  Plate  167).  Number  12 
and  the  sides  of  Number  31,  as  well  as  two  pitchers  at  the  Metropolitan  Mu- 
seum, Figures  32  and  33  in  particular,  show  a  type  of  composition  in  which  no 
polo  player  is  represented.  Most  of  the  horsemen  raise  their  arms,  indicating  that 
they  are  not  using  the  bridle.  The  horsemen  lean  forward  over  the  necks  of  the 
fast  galloping  horses  and  some  of  them  stretch  out  their  arms,  as  if  they  wanted  to 
reach  the  horsemen  ahead.  We  have  no  proof  whatever  of  the  significance  of 
the  representation.  It  seems  to  indicate  that  this  is  the  representation  of  a  horse 
race  oranother  equestrian  game,  comparable  to  certain  ridingfeats  of  the  Cossacks 
or  the  American  cowboys.  Ikbal  Ali  Shah  relates  in  "Asia"  1922,  page  1 74,  that 

[lxv] 


INTRODUCTION 


the  participants  in  a  race  in  Western  Turkestan  guide  their  horses  with  the  feet 
and  wave  their  arms  while  riding.  Perhaps  this  may  be  the  representation  of  a 
game  of"tag"  on  horseback,  where  everybody  is  mounted,  and  pursuer  and  pur- 
sued are  not  allowed  to  use  the  bridle. 


TEXTILE  PATTERNS  ON  MOHAMMADAN  POTTERIES 

WE  know  very  little  about  Mohammadan  textile  art  during  the  twelfth  and 
thirteenth  centuries.  A  few  fabrics  have  been  preserved  as  covers  of  relics  or 
as  ecclesiastical  vestments.  Others  have  been  found  in  the  tombs  of  Egypt  (Dron- 
kah).  It  is  very  regrettable  that  we  have  no  more  ample  knowledge  of  these 
fabrics,  for  their  influence  on  the  textile  art  of  Italy  during  the  thirteenth  and 
fourteenth  centuries  is  evident. 

We  can,  however,  to  a  certain  extent  supplant  our  lack  of  specimens  by  a  close 
study  of  potteries  and  miniature  paintings  on  which  garments  made  of  patterned 
fabrics  are  represented.  Naturally  it  is  not  possible  to  determine  whether  such 
garments  were  made  of  embroidered  stufT  or  shuttle-woven  brocade. 

It  is  a  very  curious  fact  that  the  miniature  paintings  and  potteries  reflect  more 
or  less  the  great  outlines  of  textile  history. 

Medallion  weaves  are  very  rare.  The  Sassanian  silver  plate  on  Figure  i  is  one 
of  the  rare  instances  where  a  medallion  fabric  with  an  animal  pattern  has  been 
reproduced. 

Miniature  paintings  as  well  as  potteries  show  one  type  of  weave  with  spiral  ara- 
besque scroll  work  and  flowers  of  great  beauty.  Such  weaves  have  not  been  pre- 
served. The  weaves  which  we  possess  of  the  eleventh  and  twelfth  centuries  bear 
medallions  with  animals  of  a  very  elaborate  design,  and  the  weaves  from  Egypt 
of  the  twelfth  and  thirteenth  centuries  show  delicate  patterns  of  ogives  formed 
by  curved  stems  with  animals  in  opposite  symmetrical  representation.  In  other 
specimens  we  see  diagonal  asymmetrical  compositions  with  large  arabesque  flow- 
ers of  half  Chinese  character,  which  might  be  a  later  type  ofevolution  ofthe  weaves 
represented  on  the  miniatures. 

Consequently  we  must  conclude  that  the  weaves  with  arabesque  scroll  work 
represented  on  miniatures  and  potteries  belong  to  a  type  which  has  been  entirely 
lost.  Two  Byzantine  fabrics  based  on  a  system  of  spirals  are  found  in  Falke,  "Seiden- 
weberei"  Figures  225  and  234. 

A  second  type  of  weaves  shows  small  all-over  diaper  patterns.  Such  patterns 
have  been  preserved  from  Byzantium  as  well  as  from  the  Mohammadan  countries 
in  considerable  numbers,  and  although  they  are  rather  freely  interpreted  by  the 

[  LXVI  ] 


Fig.  i  8 


Fig.  19 


Fig.  20 


Figs.  18-22.  Textile  Patterns  taken  from  Potteries  of  the  Parish-Watson  Collection. 


INTRODUCTION 


painters,  we  can  nevertheless  recognize  the  existing  patterns  in  the  reproductions 
of  the  miniature  and  pottery  painters. 

During  the  later  thirteenth  century  a  great  revolution  took  place  in  the  field 
of  textiles.  The  static  symmetrical  patterns  of  the  Byzantine  and  early  Moham- 
madan  period  were  replaced  by  the  rhythmic  diagonal  patterns  created  under 
Chinese  influence.  Such  patterns  are  not  found  in  the  Rhages  potteries,  as  they 
are  earlier  in  the  period  of  Chinese  influence,  but  they  are  very  frequent  in  the 
miniature  paintings  of  the  Mongol  period.  Figures  16  —  27  give  a  good  survey 
of  the  main  types  of  textile  fabrics  found  in  the  Rhages  potteries.  This  compara- 
tive study  of  miniatures,  potteries  and  fabrics  is  very  interesting  and  we  hope  to 
be  able  to  publish  in  the  near  future  the  considerable  material  which  we  have 
gathered  concerning  this  subject. 


[  LXIX  ] 


Fig.  24 

Figs.  24  and  25.  Textile  Patterns,  taken  from  Potteries  of  the  Parish-Watson  Collection. 


(7  U 


Fig.  26 

Fig.  26.  Textile  Design,  taken  from  Dioscorides 
Manuscript, dated  1222  A.D. 


DETAILED  DESCRIPTIONS 


NOTICE 


All  illustrations  in  this  book  are  numbered 
through:  "Figure  i "-"Figure  94." 

All  pieces  of  the  Parish-Watson  Collection 
have  the  additional  designation: 
"Number  1  "-"Number  48." 


NUMBER  1,  TURQUOISE  AND  BLACK  POTTERY  BOWL 
RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Funnel-shaped  bowl,  standing  on  a  high  cylindrical  foot.  Similar  to  Number  3. 

TECHNIQUE 
Same  as  Number  7. 

DECORATION 

Outside:  Deep  turquoise  glaze,  leaving  the  foot  and  the  lower  part  of  the  body  uncovered.  A  black 
line  is  drawn  around  the  middle  of  the  body. 

Inside:  The  flat  bottom,  plain,  with  a  small  medallion  in  the  centre,  showing  on  a  background  of  rap- 
idly sketched  leaves  and  stems,  an  illegible  inscription.  The  sides  divided  by  four  radiant  stripes  into 
four  compartments;  each  compartment  shows  in  black  underglaze  decoration  rectangular  curved  panels 
with  identical  inscriptions,  which  seem  to  read  "al  firag,"  "separation." 

Height,  4}4  inches;  diameter,  9  inches. 

NUMBER  2,  LUSTRE  POTTERY  BOWL  WITH  NESKHI  CHARACTERS 
RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Semi-globular  bowl,  standing  on  a  cylindrical  foot  rim.  Flat  and  broadened  upper  rim. 
TECHNIQUE 

Sandy  paste,  painted  under  the  glaze  with  a  few  touches  of  cobalt  blue.  Covered  with  a  transulcent 
light  greenish  glaze,  which  has  coagulated  in  thick  greenish  drops  on  the  lower  part  of  the  body.  Painted 
over  the  glaze  in  lustre  color  which  was  originally  brown,  but  which  on  certain  parts  has  toned  down  to 
a  beautiful  olive  tone. 

DECORATION 

Outside:  Roughly  sketched  spiral  scrolls;  plain  lustre  stripes  above  and  below. 

Inside:  The  flat  rim  of  the  border  is  painted  in  lustre.  Below  a  broad  band  in  plain  lustre  follows  a 
scalloped  edge  in  cobalt  blue  and  lustre,  with  small  scroll  work  filling  the  space  between. 

The  large  centre  medallion  shows  an  Arabic  inscription  in  bold  Neskhi  characters  on  a  background  of 
minute  spiral  scroll  work.  It  reads:  "el  afiya,"  "good  health." 

H eight,  4%  inches;  diameter,  S}4  inches. 

NUMBER  3,  BLACK  AND  GREEN  LAMP  SHAPED  POTTERY  VASE 
SYRIA,  13TH  TO  14TH  CENTURY 

SHAPE 

Globular  body,  standing  on  a  high,  spreading  foot.  On  the  middle  of  the  body  three  ring  handles,  each 
surmounted  by  a  conical  thorn.  Spreading  neck,  widening  to  a  flaring  lip.  The  vase  has  almost  the  shape 
of  a  Syrian  glass  mosque  lamp.  Pottery  vases  of  this  shape  sometimes  occur.  The  Metropolitan  Museum 
of  Art  possesses  a  large  pottery  vase,  which  exactly  follows  the  shape  and  design  of  the  glass  mosque 
lamps.  For  others  see  Riviere  Plate  5  (Raqqa),  Plate  79  (Anatolia,  16th  century). 

TECHNIQUE 

The  technique  of  this  piece  is  extremely  interesting.  As  sometimes  happens  in  Raqqa  wares,  the  glaze 
has  partly  blistered  off  the  base,  thus  giving  us  a  glance  into  the  workshop  of  the  potter.  On  the  inside 

[75] 


and  outside  the  base  is  decorated  with  black  slip.  In  the  middle  of  the  vase,  between  the  handles,  are 
three  trefoil-shaped  motives,  outlined  by  a  raised  line.  They  are  absolutely  unglazed  and  undecorated. 
It  is  probable  that  they  were  to  receive  some  relief  decoration  in  clay,  metal  or  color,  which  is  now  miss- 
ing- 
After  this  underglaze  decoration  in  black,  the  vase  was  covered  with  a  translucent  greenish  blue  glaze. 

DECORATION 

The  decoration  of  this  piece  is  well  balanced,  and  rather  sketchy. 

Inside:  The  neck  and  the  spreading  foot  are  ornamented  with  intertwined  semi-circles.  They  may  be 
a  degeneration  of  a  frieze  of  small  curved  fish,  found  sometimes  on  Rhages,  as  well  as  on  Raqqa  pottery. 
(See  one  very  charming  plate  covered  with  such  small  fry  in  the  Boston  Museum  of  Fine  Arts,  Figure 

39). 

Outside:  Two  superposed  friezes  of  conventionalized  Cufic  lettering  decorate  the  outside  of  the  neck. 
The  main  frieze  has  trefoiled  arches  of  sketchy  black  design,  forming  a  kind  of  undulated  motif,  around 
which  ornamental  stems  and  leaves  are  indicated. 

A  silvery  iridescence,  changing  partly  to  deep  peacock  blue  with  touches  of  emerald,  covers  this 
charming  vase. 

REMARKS 

This  vase  seems  to  be  of  a  too  advanced  style  for  the  Raqqa  potteries  of  the  12th  and  13th  centuries. 
It  shows  a  certain  relationship  to  the  Rhages  and  Sultanabad  pieces,  yet  its  decoration  and  shape  are 
more  closely  allied  to  the  Syro-Mesopotamian  group.  It  is  therefore  probable  that  this  piece  is  a  Syro- 
Egyptian  pottery  of  the  13th  to  14th  centuries,  showing  the  influence  of  Persian  wares.  The  Metropoli- 
tan Museum  possesses  quite  a  number  of  pieces,  which  corroborate  the  present  ascription. 

The  innumerable  pottery  fragments  found  in  Fostat,  Egypt,  also  contain  numerous  specimens  of 
Syro-Egyptian  pottery  with  a  close  resemblance  to  the  Rhages  and  Sultanabad  groups.  This  entire  group 
has  not  yet  been  clearly  defined  and  analyzed.  An  exact  study  and  classification  of  the  Fostat  fragments 
would  be  a  very  important  contribution  to  the  history  of  Near  Eastern  pottery. 

Height,  6>2  inches. 


[?6] 


Number i 


Number  2 


Number  3 


Fig.  28 

Number  i.  Pottery  Bowl.  Raqqa,  Mesopotamia,  I2th-i3th  century. 
Number  i.  Lustre  Pottery  Bowl.  Raqqa,  Mesopotamia,  I2th-i3th  century. 
Number  3.  Lamp  Shaped  Pottery  Vase.  Syria,  I3th-i4th  century. 
Parish-Watson  Collection. 


NUMBER  4,  TURQUOISE  AND  BLACK  POTTERY  BOWL  WITH  PALMETTO  DECORATION 

RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Funnel-shaped  bowl,  standing  on  a  high,  cylindrical  foot.  Elegantly  out-curved  form,  the  potting 
gradually  becoming  thinner  towards  the  rim. 

TECHNIQUE 

Light  grayish  sandy  paste.  The  decoration  is  painted  in  a  thick  black  slip  on  the  body.  Details  are 
executed  in  sgraffito.  The  whole  covered  with  a  brilliant  translucent  blue  glaze. 

DECORATION 

Outside:  The  upper  part  of  the  body  is  covered  with  a  beautiful  turquoise  glaze.  A  bold  black  line  is 
drawn  around  the  middle. 

Inside:  An  arabesque  decoration  which  is  a  direct  descendant  of  the  leaf  and  ribbon  patterns  of  the 
Coptic  tapestries,  a  few  centuries  earlier.  The  inside  of  the  bowl  is  divided  in  three  radiant  sections, 
each  separated  from  the  other  by  intertwined  ribbons  forming  a  hexagonal  star  on  the  bottom  of  the 
bowl.  A  broad  band  runs  along  the  rim  of  the  bowl  and  is  connected  with  the  central  star  by  three  intri- 
cate interlacings,  separating  the  three  sections,  one  from  the  other.  In  the  centre  of  each  section  is  a 
vigorously  drawn  arabesque  leaf,  doubtlessly  derived  from  the  vine  leaves  used  so  much  in  textile  and 
other  decoration  during  the  Roman  period  in  Egypt.  Beaded  lines  outline  both  the  leaf  motives  and  the 
point  of  the  hexagonal  star.  These  leaf  motives,  as  well  as  the  interlaced  ribbons,  are  a  constant  motif 
in  the  Arabic  silk  tapestries  of  the  Early  Mohammadan  period. 

The  boldness  of  the  design  and  the  simplicity  of  the  composition  of  this  bowl  are  remarkable. 

Height,  4^  inches;  diameter,  9}i  inches. 

NUMBER  5,  TURQUOISE  AND  BLACK  POTTERY  EWER 
RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Pear-shaped  body,  standing  on  a  low  foot  rim.  The  neck  cylindrical,  spreading  slightly  on  the  lip. 
Through  pressing  and  bending  with  the  fingers,  a  spout  has  been  produced  in  the  soft  clay  before  the 
firing.  A  twisted  rope  handle  connects  the  lip  with  the  middle  of  the  body. 

TECHNIQUE 
Same  as  Number  7. 

DECORATION 

The  neck  shows  a  frieze  of  conventionalized  Cufic  inscription  on  a  background  of  sketchily  indicated 
floral  scrolls.  Several  horizontal  black  strips  run  above  and  below  a  frieze  with  a  large  Neskhi  inscrip- 
tion on  a  background  of  a  double  row  of  ornamental  spirals  with  small  attached  leaves  in  black  and 
turquoise. 

Here  and  there  golden  and  silvery  iridescence  beautifies  this  interesting  piece. 
Height,  Wyi  inches. 


[79] 


NUMBER  6,  TURQUOISE  AND  BLACK  ARABESQUE  POTTERY  BOWL 
RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Funnel-shaped,  standing  on  a  high  cylindrical  foot.  Similar  to  Number  4. 

TECHNIQUE 
Same  as  Number  7. 

DECORATION 

Outside:  Deep  turquoise  glaze  on  the  upper  half.  The  lower  half  partly  covered  with  white,  slightly 
greenish  glaze. 

Inside:  Boldly  sketched  arabesque  decoration,  showing  the  Syro-Egyptian  interpretation  of  this  style 
of  ornament,  which  remained  more  archaic  than  in  Persia. 

The  bottom  of  the  bowl  bears  a  round  medallion  with  a  plant  of  arabesque  leaves  growing  from  a  lit- 
tle mound.  The  sides  of  the  bowl  are  decorated  with  a  frieze,  showing  an  undulated  stem  on  a  back- 
ground of  black  dots  on  turquoise.  To  this  stem  are  alternately  attached  small,  compactly  incurved 
leaves  and  long  partisan-shaped,  lanceolated  leaves,  with  an  attached  and  scrolled  smaller  leaf.  The 
balance  of  this  spontaneously  sketched  ornamentation  is  perfect.  The  fine  proportion  between  orna- 
ment and  the  plain  spaces  is  likewise  remarkable. 

A  slight  iridescence  on  one  side  of  the  bowl  veils  the  intense  turquoise  and  black  with  the  golden  film 
characteristic  of  the  Raqqa  potteries. 

Height,  A}4  inches;  diameter,  9>2  inches. 


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NUMBER  7,  TURQUOISE  AND  BLACK  DEEP  POTTERY  BOWL 
RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Deep  plate  with  broad  horizontal  rim,  standing  on  a  low  foot  rim. 
TECHNIQUE 

Light  grayish  sandy  paste,  with  painted  black  underglaze  decoration.  The  foot  of  the  bowl  shows 
clearly  that  below  the  brilliant  turquoise  blue  glaze,  a  slightly  yellowish  glaze  has  been  employed  that  is 
clearly  visible  on  the  inside  of  the  foot.  Traces  of  a  similar  preliminary  glaze  can  be  observed  on  the 
bowl  Number  4,  and  on  the  plate  Number  9. 

DECORATION 

Outside:  Deep  turquoise  glaze,  leaving  the  foot  and  the  lower  part  of  the  body  uncovered.  Part  of  the 
bowl  with  beautiful  iridescence.  A  black  line  is  drawn  around  the  middle  of  the  body. 

Inside:  Bold  design  of  numerous  radiant  and  curved  lines,  like  a  turbine.  On  the  rim  energetic  strokes 
move  in  the  opposite  direction.  There  are  traces  of  iridescence  on  the  rim. 

Height,  2^4  inches;  width,  10^  inches. 

NUMBER  8,  TURQUOISE  AND  BLACK  POTTERY  BOTTLE 
RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

The  pear-shaped  body,  standing  on  a  low  foot  rim,  tapers  gradually  into  a  tall  neck  with  bulbous 
headpiece  and  spreading  lip. 

TECHNIQUE 

Same  as  Number  4. 

DECORATION 

The  greater  part  of  the  body  is  covered  with  a  thick  golden  iridescence  which  hides  much  of  the  dec- 
oration. Large  circular  medallions,  thickly  outlined  in  black,  alternate  with  adze-shaped  panels  with 
four-sided,  curved  outline.  These  panels  are  sketched  with  Neskhi  inscriptions  on  turquoise  back- 
ground, with  black  dots  indicating  floral  ornament. 

Height,  \lyi  inches. 


[83] 


NUMBER  9,  TURQUOISE  AND  BLACK  POTTERY  DISH 
RAQQA,  MESOPOTAMIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Deep  dish  with  broad  horizontal  rim,  standing  on  a  low  foot  rim. 

TECHNIQUE 
Same  as  Number  7. 

DECORATION 

Outside:  Deep  turquoise  blue  glaze,  leaving  the  foot  of  the  bowl  uncovered.  A  black  line  is  drawn 
around  the  middle  of  the  body.  Golden  iridescence. 

Inside:  On  the  bottom  of  the  plate  a  round  medallion  with  scalloped  edge  and  a  boldly  drawn  ara- 
besque leaf  in  the  centre.  Near  the  rim  a  broad  band  with  a  rhythmic  inscription  in  fluent  Neskhi  char- 
acters on  a  background  in  which  floral  scroll  work  is  indicated  by  dots  and  lines.  On  the  horizontal  rim, 
decoration  of  circular  lines  ornamented  with  half  conventionalized  leaf  motives.  These  leaf  motives  may 
be  a  last  souvenir  of  the  type  of  inscriptions  found  on  theSassanian  and  early  Mohammadan  potteries. 
(Compare  Pezard,  Plate  23.) 

REMARKS 

The  Metropolitan  Museum  owns  a  Syrian  plate  of  the  same  type  of  decoration — floral  centre  medal- 
lion surrounded  by  a  Neskhi  inscription — which  is  decorated  in  black  and  cobalt  blue  on  white. 
Height,  2}i  inches;  width,  10^  inches. 


[84] 


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NUMBER  10,  RHAGES  POLYCHROME  POTTERY  PITCHER  WITH 
SPHINX  DECORATION.  PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Bulbous  body  on  high  foot  rim  which  widens  slightly  toward  the  base.  Short  neck  with  wide  mouth. 
One  curved  handle,  made  of  a  flat  pottery  ribbon  and  thumb-knobbed  on  the  top,  connects  the  mouth 
rim  with  the  shoulder. 

TECHNIQUE 

Light  creamy  earthenware  covered  with  a  thick  white  tin  enamel.  The  present  specimen  is  technically 
very  interesting.  The  white  glaze  runs  in  a  thick  stream  over  the  earthenware  body  and  shows  clearly 
that  the  covering  of  these  potteries  is  not  a  slip  covered  with  translucent  lead  glaze,  but  opaque  tin  glaze. 

This  tin  enamel  background  is  decorated  with  overglaze  colors  which  are  applied  with  the  brush  after 
the  main  firing  is  done.  The  colors  are  similar  to  those  used  in  porcelain  overglaze  painting  and  can  only 
be  fixed  in  the  low  fire  of  the  muffle  kiln.  Their  variety  and  range  are  much  greater  than  the  underglaze 
colors  and  enamels  which  are,  respectively,  able  to  stand  the  "grand  feu"  and  the  "demi  grand  feu"  of 
the  potter's  kiln,  as  the  French  ceramists  call  it.  As  these  muffle  colors  are  on  top  of  the  glaze  they  are, 
like  the  porcelain  overglaze  colors,  easily  rubbed  off*.  The  decoration  with  these  colors  is  generally  en- 
riched by  painted  gold  or  gold  leaf.  The  most  beautiful  creations  of  the  classic  period  of  Persian  pot- 
tery— the  so-called  Rhages  polychrome  potteries — are  decorated  in  this  manner.  We  will  refer  to  this 
technique  as  the  "Rhages  polychrome  technique." 

The  colors  employed  in  this  specimen  are  cobalt  blue,  lacquer  red,  olive  green,  and  black,  with  de- 
tails in  opaque  white  and  high  lights  in  gold. 

DECORATION 

Neck:  The  rim  border  is  scalloped  in  cobalt  blue.  Below  is  a  Cufic  inscription  in  conventionalized  char- 
acters of  white,  outlined  in  black  on  a  cobalt  blue  ground.  The  handle  has  a  black  inscription  in  Neskhi 
characters. 

Body:  An  upper  border  is  formed  by  a  frieze  of  heart-shaped  arabesque  motives  of  alternate  cobalt 
blue,  lacquer  red  and  olive  green,  outlined  in  black  and  ornamented  with  golden  dots.  The  main  decora- 
tion consists  of  a  frieze  of  seven  walking  sphinxes,  the  central  one  red  and  white  with  golden  and  white 
dots,  the  others  in  various  colors.  The  wings  and  shoulders  of  the  sphinxes  are  colored  differently. 

Below  this  main  frieze  is  a  small  border  with  conventionalized  Cufic  writing  in  black  or  cobalt  blue. 
The  lower  half  of  the  body  is  undecorated. 

The  inside  of  the  mouth  rim  bears  a  conventionalized  Cufic  inscription. 

Height,  S~j/2  inches;  diameter,  of  the  mouth,  3}4  inches. 

NUMBER  11,  RHAGES  POTTERY  GOBLET  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"The  Seven  Musicians  of  the  Palace" 

SHAPE 

Cylindrical  shape,  slightly  widening  towards  the  mouth.  Low  foot  rim. 
TECHNIQUE 

Light  creamy  earthenware  of  particularly  fine  texture.  Decorated  in  Rhages  polychrome  technique 
on  white  background.  (See  Number  10). 

Colors  employed:  Pink,  cobalt  blue,  olive  green,  black,  a  few  traces  of  salmon  red;  gold  and  opaque 
white  for  the  details. 

DECORATION 

Inside:  The  rim  is  decorated  with  a  frieze  of  ornate  Cufic  characters  in  cobalt  blue  enriched  with  floral 

[87] 


scrolls  in  black.  On  the  inside  of  the  body  are  a  few  ornaments  lightly  and  gracefully  sketched.  On  the 
bottom  of  the  bowl  a  bird  is  rendered  by  a  few  characteristic  strokes. 

Outside:  The  rim  is  decorated  with  a  scalloped  edge  in  cobalt  blue.  Below  this  is  a  border  of  conven- 
tionalized Cufic  characters  in  white,  outlined  in  black  on  a  background  of  light  cobalt  blue. 

The  body  bears  a  frieze  of  seven  large  figures — the  entertainments  of  a  sultan.  The  figures  are  ar- 
ranged in  pairs  and  all  the  heads  are  surrounded  by  a  large  pinkish  or  purplish  halo.  They  wear  Persian 
caps  under  which  the  hair  falls  down  to  the  shoulders  in  a  thick  black  mass.  Only  the  harp  player  has 
long  tresses.  All  persons  wear  the  Tiraz  ribbons  around  the  arms.  The  textile  patterns  are  very  inter- 
esting. They  are  mainly  small  geometrical  diaper  patterns,  but  one  of  them  shows  fine  floral  scrolls.  In 
the  first  group  two  people  in  particularly  rich  garments  engage  in  animated  conversation.  This  couple 
is  followed  by  another  group  of  two  in  which  the  figure  seated  to  the  right  seems  to  hold  a  piece  of  fruit. 
The  third  group  is  composed  of  a  harp  player  and  a  tambourine  player,  with  a  third  person  listening.  The 
harp  is  a  small  one  which  can  be  carried  on  the  arm.  On  the  tambourine  is  an  illegible  Cufic  inscription. 

Below  these  groups  is  a  small  frieze  with  a  repeated  pattern  of  semi-circular  arabesque  motives,  cobalt 
blue  and  gold  on  white. 

REMARKS 

A  similar  goblet  decorated  with  a  frieze  of  musicians  was  one  of  the  finest  pieces  of  the  A.  Sambon 
collection  in  Paris.  This  piece  is  illustrated  in  Henri  Riviere's  "Ceramique  Musulmane,"  Plate  50,  and 
in  Martin,  "Miniatures,"  vol.  I  p.  5.  A  fragment  of  another  fine  goblet  passed  from  the  Sambon  Collec- 
tion into  that  of  the  late  Hervey  E.  Wetzel,  Boston,  Mass. 

Height,  \  x/2  inches;  diameter,  4^  inches. 

NUMBER  12,  RHAGES  POTTERY  PITCHER  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"Galloping  Cavaliers" 

SHAPE 

Flattened  globular  body,  standing  on  a  slightly  conical  foot  rim.  Short  neck  with  wide  mouth.  One 
handle  made  of  a  flat  pottery  ribbon  with  thumb  knob  connects  the  rim  of  the  mouth  with  the  shoulder. 

TECHNIQUE 

Light  creamy  earthenware,  covered  with  a  thick  coat  of  opaque  white  tin  enamel.  Decorated  in 
Rhages  polychrome  technique.  (See  number  10). 

Colors  employed:  Cobalt  blue,  olive  green,  pink,  manganese  purple,  salmon  red,  black,  gold,  light 
blue  and  light  turquoise. 

DECORATION 

Inside:  The  inner  rim  bears  a  Cufic  inscription  in  red. 

Outside:  The  outside  of  the  rim  is  scalloped  in  cobalt  blue.  Below  is  a  frieze  of  conventionalized  Cufic 
inscription  in  white  outlined  with  black  on  a  cobalt  blue  ground.  The  handle  bears  a  Cufic  inscription 
in  red. 

A  frieze  of  men  on  horseback,  with  Persian  bonnets  on  their  heads  and  all  with  raised  hands,  deco- 
rates the  upper  part  of  the  body.  Their  garments  show  various  Persian  textile  patterns.  These  patterns 
are  indicated  by  light  blue  and  gold  painting  on  the  cobalt  blue  or  olive  green  color  of  the  garments. 
The  horses  have  golden  trappings  and  their  tails  are  tied  with  gold  ribbons.  The  well  known  Tiraz  rib- 
bons are  seen  on  the  arms  of  the  men. 

Below  the  main  frieze  is  a  broad  band  of  greenish  turquoise. 

REMARKS 

This  type  of  pitcher  with  a  frieze  of  horsemen  is  sometimes  found.  The  Metropolitan  Museum  in  New 
York  possesses  two  similar  specimens.  (See  Figures  32  and  33). 
Height^  5  inches;  diameter  of  the  mouth,  3}4  inches. 

[88] 


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NUMBER  13,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"The  Sultan  in  the  Garden" 

SHAPE 

Semi-globular  body,  the  upper  rim  slightly  grooved  on  the  outside.  Slightly  conical  foot  rim. 
TECHNIQUE 

Light  creamy  earthenware,  covered  with  a  thick  coat  of  opaque  white  tin  enamel.  Decorated  in  Rhages 
polychrome  technique.  (See  Number  10). 

Colors  employed:  Olive  gray,  manganese  purple,  lacquer  red,  pink,  cobalt  blue,  black  and  opaque 
light  blue  and  gold. 

DECORATION 

Outside:  A  black  Neskhi  inscription  on  the  rim  encircles  the  entire  body. 

Inside:  The  rim  scalloped  in  cobalt  blue.  Below,  we  find  a  frieze  of  conventionalized  Cufic  characters 
in  white,  outlined  with  black  on  a  cobalt  blue  ground. 

In  the  bottom  of  the  bowl  is  a  charming  composition.  A  garden  with  trees  and  flowers  is  indicated  by 
scrolls  and  dots  of  gold  and  various  colors,  as  in  the  miniature  paintings  of  the  Abbasid  school.  In  the 
centre  of  the  composition  is  a  sultan  seated,  a  Persian  cap  on  his  head,  his  olive  brown  caftan  and  his 
red  undergarment  decorated  with  small  diaper  patterns.  On  his  sleeves  and  on  those  of  his  attendants 
are  the  broad  Tiraz  ribbons.  His  hair  is  arranged  in  four  tresses.  To  his  right  sits  an  attendant,  perhaps 
a  female,  the  hair  also  arranged  in  four  tresses.  She  holds  a  goblet  and  wears  a  double  caftan.  The  atten- 
dant to  the  right  has  the  same  cap  and  hairdress  as  the  other  two  personages,  save  for  two  long  red  and 
purple  ribbons  floating  from  the  cap.  This  person,  who  seems  to  offer  fruit  to  the  sultan,  wears  a  plain 
brown  caftan  decorated  with  a  key  pattern  in  gold — a  textile  pattern  which  we  sometimes  find  on  pot- 
teries and  miniatures. 

Above  and  below  this  group  is  an  ornamental  band  decorated  with  red,  blue  and  olive  green  triangles, 
on  which  two  pheasant-like  birds  are  perched  in  opposite  representation. 
Height,  lyi  inches;  diameter,  inches. 


[9O 


<u  O 


<u 
o 


Qj  Oh 

^  O 

Ih 

o 


Fig.  34.  Number  13.  Rhages  Pottery  Bowl.  Persia,  I2th-I3th  century. 
Parish-Watson  Collection. 


NUMBER  14,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Semi-globular  shape,  slightly  spreading  toward  the  mouth;  low,  cylindrical  foot  rim. 
TECHNIQUE 

Light  creamy  earthenware,  decorated  in  Rhages  polychrome  technique  on  white  background.  (See 
Number  10.) 

Colors  employed:  Cobalt  blue,  lacquer  red,  olive  brown  and  black.  Gold  and  opaque  light  blue  for  the 
details. 

DECORATION 

Outside:  The  rim  with  long  Neskhi  inscription  encircling  the  bowl. 

Inside:  The  rim  with  a  scalloped  border  in  cobalt  blue,  followed  by  a  cobalt  blue  stripe,  with  an  in- 
scription of  conventionalized  Cufic  characters  painted  on  the  cobalt  in  light  blue.  On  the  bottom  of  the 
bowl  is  the  representation  of  a  man  on  horseback.  He  wears  a  red  cap  with  long  embroidered  streamers 
floating  behind.  The  four  long  tresses  of  the  hair  are  visible  under  the  headgear.  The  garment  is  blue 
with  a  delicate  diaper  pattern.  His  horse  has  rich  golden  trappings,  while  an  ornamental  horsetail  hangs 
from  its  breast.  The  horseman  is  surrounded  by  ornamental  twigs  and  branches,  similar  to  those  in 
Number  13.  Between  these  branches  we  find  the  three-globe  pattern,  which  plays  such  an  important  role 
in  the  textile  patterns  of  the  Mohammadan  countries. 

Height,       inches;  diameter,  6}{  inches. 


[97] 


Fig.  35.  Number  14.  Rhages  Pottery  Bowl.  Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


SS881 


NUMBER  15,  RHAGES  POTTERY  JAR  (POLYCHROME  DECORATION) 
PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Bulbous  body  standing  on  a  low  foot  rim.  The  body  tapers  gradually  into  a  short  neck  with  a  very 
wide  mouth.  On  both  sides  handles  in  the  form  of  two  plastically  modeled,  lion-like  animals  join  the 
neck  with  the  shoulder.  In  the  front  and  the  rear  are  two  identical  spouts  formed  by  two  conjoined 
tubes. 

TECHNIQUE 

Light  creamy  earthenware  covered  with  white  tin  enamel.  Decorated  in  Rhages  polychrome  tech- 
nique. (See  Number  10). 

Colors  employed:  Cobalt  and  turquoise  blue,  traces  of  manganese  purple  and  brown. 

DECORATION 

Inside:  A  conventionalized  Cufic  inscription  in  black  on  white  decorates  the  inside  of  the  neck. 

Outside:  Scalloped  border  in  cobalt  blue  on  the  rim.  Below,  a  frieze  of  conventionalized  Cufic  inscrip- 
tion in  white,  outlined  in  black  on  a  background  of  cobalt  blue. 

The  lions  and  the  ends  of  the  spouts  are  glazed  in  plain  light  turquoise  blue.  On  the  shoulder  of  the 
vase  is  a  frieze  of  figural  representations,  in  which  the  huntings  of  Bahram  Gur,  the  Sassanian  king,  may 
be  recognized. 

The  first  figure  shows  King  Bahram  Gur  riding  on  a  camel,  the  quiver  hanging  from  his  shoulder.  He 
is  shooting  at  a  somewhat  indistinct  animal,  which  must  be  the  gazelle,  scratching  her  head.  A  cypress 
tree  closes  this  scene.  (About  Bahram  Gur,  see  Introduction,  page  XXXIX). 

The  second  composition  shows  a  falconer  riding  on  a  camel  and  followed  by  his  attendant.  The  falcon, 
just  let  loose  from  the  hand  of  his  master,  soars  in  pursuit  of  the  heron  or  crane  which  is  seen  to  the  left 
of  the  hunter. 

In  the  third  division  a  woman  rides  on  a  camel  and  plays  the  harp.  She  must  be  Azadeh,  the  mistress 
of  Bahram  Gur,  who  in  other  representations  rides  on  the  same  camel  as  the  Sassanian  king.  She  is  fol- 
lowed by  a  retainer.  A  bird,  seemingly  a  wild  goose,  hovers  above. 

In  the  fourth  composition  a  man  rides  on  a  camel,  followed  by  a  retainer  who  is  the  only  person  in  the 
entire  composition  wearing  the  Tiraz  ribbons  around  his  arm. 

Below  the  composition  is  a  frieze  of  conventionalized  Cufic  inscription  identical  to  that  above  the 
frieze. 

The  lower  part  of  the  body  is  decorated  with  a  frieze  of  alternating  arabesque  motives  and  winged 
female  harpies. 

REMARKS 

This  type  of  vase  sometimes  occurs.  Number  32  is  of  the  same  shape;  it  is  probably  derived  from  a 
bronze  shape.  Such  lion  handles  are  found  in  the  heavy  bronze  mortars  from  Mossoul  and  Eastern  Per- 
sia. The  lion  handles  of  kettles  of  the  11th  and  12th  century  are  remarkable  for  the  simplification  of  the 
animal  shape  into  an  almost  Cubistic  rhythm  of  lines  and  planes. 

H eighty  Syi  inches;  diameter  of  mouth,  Aj4  inches. 


[ioi] 


Fig.  36.  Number  15.  Rhages  Pottery  Jar  (Polychrome  Decoration). 
Persia,  I2th-I3th  century. 
Parish-Watson  Collection. 


NUMBER  16,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 
PERSIA,  12TH  TO  13TH  CENTURY 
"The  Entertainments  of  a  Sultan" 

SHAPE 

Semi-globular  bowl  on  low,  slightly  spreading  foot  rim.  The  body  of  the  bowl  is  separated  from  the 
border  by  a  slightly  raised  line. 

TECHNIQUE 

Light  creamy  earthenware  covered  with  an  opaque  light  turquoise  tin  enamel.  Decorated  in  Rhages 
polychrome  technique.  (See  Number  10.) 

Colors  employed:  Red,  green,  white  and  black.  Details  added  in  gold  and  opaque  white. 

DECORATION 

Outside:  The  rim  is  decorated  with  a  long  black  inscription  in  Neskhi  characters  and  is  followed  by  a 
row  of  arcades  rapidly  sketched  in  black  lines.  Such  painted  arcades,  perhaps  imitating  the  relief  gad- 
rooning  of  earlier  pottery  or  bronze  vases,  are  quite  frequent. 

Inside:  The  rim  is  scalloped  with  an  edging  of  greenish  black.  This  is  followed  by  an  elaborate  border 
with  an  inscription  of  flowery  Cufic  in  thin  white  wash  on  a  greenish  background.  On  the  bottom  of  the 
bowl  is  a  large  medallion,  surrounded  by  a  border  with  four-pointed  stars  of  alternate  green  and  red  on 
a  cobalt  blue  ground  with  touches  of  gold  in  the  centres.  In  this  medallion  is  the  main  composition  of 
a  sultan  seated  with  his  attendants. 

The  sides  of  the  bowl  are  filled. with  a  frieze  of  fourteen  singers  and  musicians,  who  entertain  the  sul- 
tan in  the  central  composition. 

The  sultan  in  the  central  medallion  is  seated  in  the  middle  on  a  throne  covered  with  brocade  spreads 
and  pillows.  The  sultan  himself  wears  the  usual  felt  cap.  The  artist  seems  to  have  interpreted  the  halo 
as  a  part  of  the  headdress.  In  miniatures,  too,  this  same  vague  interpretation  sometimes  occurs.  (Com- 
pare some  of  the  haloes  in  the  Treatise  on  Automata  of  1 180  A.  D.) 

Two  black  tresses  frame  the  sultan's  face.  His  garment  shows  a  geometrical  pattern  of  intricate  inter- 
lacings.  Gold  trimmings  border  the  opening  of  the  neck  of  the  caftan,  while  gold-woven  Tiraz  stripes 
adorn  the  upper  sleeves.  In  his  right  hand  the  sultan  holds  a  conical  goblet.  Two  attendants  stand  on 
both  sides  of  him. 

At  the  foot  of  the  throne  are  two  peacocks  in  opposite  symmetrical  representation. 

The  figures  on  the  rim  are  represented  in  lively  movements  of  arms  and  hands,  thus  accompanying 
their  singing.  Their  costumes  are  of  various  geometrical  patterns.  Particularly  remarkable  is  one  black 
caftan  with  the  three-globe  pattern  indicated  in  white.  The  identical  pattern  is  found  in  the  Turkish 
textiles  of  the  16th  century.  Several  other  garments  show  rather  curious  designs  with  repeated  cross  pat- 
terns. One  of  the  singers  wears  a  costume  of  black  with  a  pattern  of  spiral  scrolls  indicated  in  white. 

REMARKS 

This  type  of  composition  is  analyzed  in  the  description  of  Number  11.  Very  similar  to  the  present 
bowl  in  all  details  is  the  pottery  bowl  from  the  collection  of  Mr.  Pey  tel  in  Paris,  reproduced  in  Figure 
1 1  (Munich  Mohammadan  Exhibition.  Plate  96  and  Riviere,  Plate  49).  Another  bowl  of  similar  type  is 
reproduced  in  Schulz,  Plate  G.  A  very  fine  specimen  is  in  the  Metropolitan  Museum  in  New  York.  (See 
Figure  12.) 

This  piece  is  now  in  the  collection  of  Mr.  Mortimer  SchifF,  New  York. 


[io5] 


Fig.  37.  Number  16.  Rhages  Pottery  Bowl.  Persia,  I2th-i3th  cen 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


Fig.  38.  Mossoul  Bronze  Candlestick,  14th  century. 
Metropolitan  Museum  of  Art,  New  York. 


Fig.  39.  Pottery  Plate.  Raqqa,  I2th-i3th  century. 
Boston  Museum  of  Fine  Arts. 


Fig.  40.  Bronze  Mirror.  Mossoul,  13th  century. 


Fig.  41.  Number  17.  Rhages  Pottery  Bowl.  (Polychrome  Decoration). 
Persia,  I2th-I3th  century. 
Parish-Watson  Collection. 


I 


NUMBER  17,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 


SHAPE 

Semi-globular  bowl  on  a  slightly  spreading  foot  rim.  On  the  outside  a  slightly  raised  line  separates  the 
rim  of  the  bowl  from  the  body. 

TECHNIQUE 

The  body  of  grayish  earthenware  is  first  covered  with  a  thin  coat  of  white  tin  enamel.  This  is  then 
covered  with  a  beautiful  celestial  turquoise  tin  enamel.  The  decoration  is  outlined  in  black  and  executed 
mainly  in  cobalt  blue,  with  the  addition  of  a  few  touches  of  greenish  turquoise,  bolus  red  and  manganese 
purple.  The  latter  is  mottled  and  appears  against  the  turquoise  background  as  brownish  gray.  Details 
are  heightened  with  gold  leaf. 

DECORATION 

Outside:  Plain  turquoise  with  a  bold  Neskhi  inscription  running  around  the  body,  just  below  the 
raised  line  which  separates  the  rim. 

Inside:  The  rim  of  the  bowl  is  marked  by  cobalt  blue  scalloping  and  a  black  band  about  half  an  inch 
wide,  decorated  in  white  slip  with  a  conventionalized  inscription  of  an  elaborate  Cufi,  richly  ornamented 
with  spiral  scrolls.  The  bottom  of  the  bowl  shows  a  graceful  composition  of  two  sphinxes  in  opposite, 
symmetrical  representation. 

This  composition  is  analyzed  in  the  Introduction. 

REMARKS 

The  present  piece  is  of  particularly  fine  color  and  its  simple  and  dignified  composition  is  remarkable. 
It  is  reproduced  in  Riviere,  in  a  fine  color  plate  (Plate  59).  We  have  therefore  reproduced  it  only  in 
black  and  white. 

Height,  7>yi  inches;  diameter,  lyi  inches. 


[113] 


NUMBER  18,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"Scenes  of  Royal  Life" — The  Sultan  on  the  Throne  and  in  His  Hunting  Grounds. 

Particularly  fine  specimen  of  Rhages  polychrome  pottery..  On  the  soft  ivory  ground  of  the  pottery 
the  subdued  harmonies  of  the  rich  costumes  are  as  beautiful  as  in  the  miniatures  of  the  Abbasid  school. 

SHAPE 

Semi-globular  bowl  on  a  cylindrical  foot  rim.  The  rim  of  the  bowl  spreads  slightly.  On  the  outside  a 
slightly  raised  line  separates  the  border  of  the  bowl  from  the  body.  The  material  is  light  creamy  earth- 
enware. The  potting  of  this  bowl  has  been  done  as  carefully  as  the  decoration.  The  profile  and  the  lines 
are  of  particular  refinement. 

TECHNIQUE 

The  body  is  covered  with  a  thick  creamy  white  coat  of  opaque  tin  enamel.  It  is  decorated  in  Rhages 
polychrome  technique.  (See  Number  10.) 

Colors  employed:  Lacquer  red,  pink,  brick  red,  light  cobalt  blue,  blue  gray,  light  manganese  purple, 
olive  green,  black,  opaque  white  and  gold  for  the  details. 

DECORATION 

Outside:  The  rim  on  the  outside  is  decorated  with  a  border  of  Cufic  inscriptions  of  flowery  conven- 
tionalization in  opaque  light  cobalt  blue,  the  strong  characters  being  ornamented  with  the  graceful, 
curved  lines  of  flower  scroll  work  painted  in  black. 

On  the  bottom  are  a  number  of  Persian  characters,  painted  in  black.  Signed  pieces  occur  quite  fre- 
quently among  the  Egyptian  potteries  which  have  been  discovered  in  the  rubbish  heaps  of  Fostat  (Old 
Cairo).  (See  Fouquet,  "Contributions  a  l'etude  de  la  ceramique  Orientale,"  Cairo  1900),  but  as  far  as  we 
know  this  is  the  first  instance  of  a  Persian  pottery  bowl  with  a  kind  of  signature  on  the  bottom.  Short 
inscriptions  are  sometimes  found  in  the  decorated  parts.  For  instance,  we  see  a  short  Cufic  inscription 
written  on  the  tambourine  in  Number  1 1.  There  is  an  inscription  on  a  fine  bowl  in  the  Mortimer  SchifF 
collection  (Figure  7).  It  reads  "Bahram  Gur"  the  name  of  the  person  represented.  Such  explanatory 
inscriptions  sometimes  occur. 

Inside:  The  rim  has  a  scalloped  edge  in  cobalt  blue.  Below  we  find  an  elaborate  border  formed  by  a 
row  of  four-pointed  stars,  alternately  green  and  red  with  golden  centres,  on  a  background  of  cobalt  blue. 
Identically  the  same  border  occurs  on  bowl  Number  16. 

The  main  composition  shows  the  sultan  on  the  throne  with  attendants  and  four  groups  of  huntsmen 
on  both  sides  of  him,  above  and  below. 

In  the  centre  is  the  sultan  seated  on  a  throne.  The  front  of  this  throne  is  curved  and  the  gilt  and  lac- 
quered wood  is  carved  with  a  floral  pattern.  On  the  seat  lies  a  pillow  covered  with  a  fabric  showing  an 
all-over  design  of  the  famous  three-globe  pattern  in  gold  on  a  red  ground.  The  high  back  of  the  throne, 
which  is  covered  or  draped  with  a  purple-red  fabric  with  a  small  all-over  pattern,  is  supported  by  four 
posters. 

The  sultan  himself  wears  the  usual  felt  cap  with  a  red  halo  visible  behind  his  head.  His  garment  is  a 
wonderful  example  of  a  13th  century  fabric.  It  is  trimmed  with  gold  galoons  in  the  opening  of  the  neck, 
and  shows  the  usual  Tiraz  ribbons  on  the  sleeves.  The  weave  itself  is  a  gorgeous  gold  brocade  with  huge 
arabesque  spiral  scrolls  and  leaves  in  gold  brocading  on  a  black  ground,  minor  details  being  indicated  in 
white. 

The  sultan  holds  the  traditional  goblet,  which  may  be  of  enameled  glass,  or  perhaps  even  of  gold.  It 
is  true  that  the  Koran  forbids  the  use  of  gold  vessels,  but  as  the  beverage  contained  in  the  goblet  is  cer- 
tainly of  the  forbidden  kind,  we  may  anticipate  that  the  goblet  is  the  same.  On  both  sides  of  the  throne 
stand  two  dancers.  Their  garments  show  interesting  patterns  of  geometrical  interlacings.  At  the  foot  of 
the  throne  are  the  two  traditional  peacocks.  The  shield-shaped  motif  between  them  is  perhaps  the  in- 
dication of  a  little  pond,  which  we  see  so  often  in  the  foreground  of  the  Persian  miniatures. 

[115] 


Above  the  sultan  are  two  hunters  on  horseback,  holding  falcons  on  their  hands.  The  left  one,  who  is 
clad  in  a  superb  garment  with  golden  arabesque  scrolls  on  a  green  ground,  is  attacked  by  a  fairy  tale 
lion.  On  both  sides  of  the  group  around  the  throne  are  seen  two  other  hunters  on  horseback.  On  the  left 
stands  a  falconer  in  a  beautiful  garment  with  purple  spiral  scrolls  on  black.  (See  Figure  24,  25).  The  one 
to  the  right  has  a  hunting  leopard  behind  his  saddle.  The  fourth  group  shows  two  hunters  on  horseback, 
with  three  other  men  standing.  The  man  to  the  left  is  in  a  fine  purple  garment  with  arabesque  scroll 
patterns.  The  hunting  falcon  sits  on  the  hand  of  the  man  in  the  centre. 

Height,  3}i  inches;  diameter,  8^  inches. 


[u6] 


Fig.  42.  Number  18.  Rhages  Pottery  Bowl.  Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


NUMBER  19,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 


The  antique  representation  of  two  horsemen  in  symmetrical  representation,  with  the  tree  of  life,  the 
"horns,"  in  the  centre. 

SHAPE 

Semi-globular  bowl  on  slightly  conical  foot  rim.  On  the  outside  a  slightly  raised  line  separates  the 
body  of  the  bowl  from  the  border  proper. 

TECHNIQUE 

Light  creamy  earthenware  covered  with  an  opaque  turquoise  tin  enamel.  Decorated  in  Rhages  poly- 
chrome technique.  (See  Number  10.) 

Colors  employed:  Cobalt  blue,  olive  green,  lacquer  red,  pink  and  black.  Minor  details  in  opaque  white 
and  gold. 

DECORATION 

Outside:  A  Neskhi  inscription  in  black  forms  a  frieze  around  the  bowl. 

Inside:  The  rim  with  scalloped  edge  in  cobalt  blue.  Below,  a  border  of  rather  vague  Cufic  inscription 
in  opaque  white  on  a  black  background. 

The  main  composition  shows  two  horsemen  riding  on  both  sides  of  a  tree  of  charming  conventional- 
ized design.  Two  birds  are  seen  in  the  branches  of  the  tree  which  ends  in  a  kind  of  arabesque  flower 
finial,  similar  to  those  which  we  find  in  the  Byzantine,  Near  Eastern  and  Mediterranean  weaves  of  the 
12th  and  13th  centuries.  The  trunk  of  the  tree  comes  from  the  open  mouth  of  a  dragon's  head  which 
emerges  from  a  green  hill.  The  drawing  below  is  somewhat  obscured  by  restorations.  One  black  animal 
is  seen  running  below  one  of  the  huntsmen.  Above  the  two  huntsmen  are  two  seated  figures  with  the 
typical  felt  caps  and  Tiraz  ribbons.  The  textile  patterns  in  this  composition  are  mainly  of  geometrical 
interlacings.  The  upper  figure  to  the  left  wears  a  green  weave  with  spiral  scrollwork  in  white. 

Height,  3$4  inches;  diameter,  8  inches. 

This  bowl  is  now  in  the  collection  of  Mr.  Mortimer  Schiff,  New  York. 


[119] 


Fig.  43.  Number  19.  Rhages  Pottery  Bowl  (Polychrome  Decoration). 
Persia,  I2th-i3th  century. 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  20,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"The  Two  Lion  Hunters" 

SHAPE 

Semi-globular  bowl  on  low,  slightly  conical  foot  rim.  On  the  outside  the  rim  of  the  bowl  is  separated 
from  the  body  proper  by  a  slightly  raised  line. 

TECHNIQUE 

Light  grayish  earthenware,  covered  with  crackled  opaque  white  tin  enamel.  Decorated  in  Rhages 
polychrome  technique.  (See  Number  10.) 

Colors  employed:  Cobalt  blue,  olive  green,  burnt  orange,  manganese  purple  and  black,  heightened 
with  gold. 

DECORATION 

Outside:  Decoration  of  two  sketchy  arabesque  motives,  alternatingly  pencilled  in  light  cobalt  blue 
and  black. 

Inside:  The  rim  is  scalloped  in  cobalt  blue.  Below,  a  cobalt  blue  stripe  half  an  inch  wide,  decorated 
with  a  conventionalized  Cufic  inscription  in  black.  The  inside  of  the  bowl  is  decorated  with  the  old  Sas- 
sanian  motif  of  two  hunters  on  horseback  hunting  the  lion,  in  opposite  symmetrical  representation  on 
both  sides  of  a  sacred  tree  of  life. 

The  two  hunters  on  the  present  bowl  are  represented  with  long  hair  locks  or  braids  hanging  down  in 
front  of  the  ears  and  reaching  by  a  caprice  of  the  pencil  almost  to  the  knee  of  one  of  the  hunters.  They 
wear  small  cobalt  blue  caps  with  a  golden  top  button  and  a  brim  turned  up  in  front  and  back.  Their  caf- 
tans show  geometrical  all-over  patterns,  and  are  decorated  with  the  broad  Tiraz  ribbons  on  the  sleeves. 
Haloes  emphasize  the  heads.  The  swords,  held  for  symmetry's  sake  in  the  right  and  left  hands  of  the 
cavaliers,  are  straight. 

The  tree  in  the  middle  shows  spirally  curved  branches.  The  leaves  are  indicated  by  a  multitude  of 
orange,  olive  green,  cobalt  blue  and  purple  and  black  dots,  heightened  with  gold.  The  empty  space  next 
to  the  two  hunters  is  filled  with  an  arabesque  motif.  The  same  has  been  done  with  the  space  around  the 
root  of  the  tree. 

Height,  2>yi  inches;  diameter,  7}i  inches. 


NUMBER  21,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"The  Seven  Horsemen" 

SHAPE 

Semi-globular  bowl  on  slightly  conical  foot  rim.  On  the  outside  the  rim  of  the  bowl  is  separated  from 
the  body  by  a  slightly  raised  line. 

TECHNIQUE 

Light  creamy  earthenware  covered  with  opaque  white  tin  enamel.  Decorated  in  Rhages  polychrome 
technique.  (See  Number  10). 

Colors  employed:  Lacquer  red,  cobalt  blue,  manganese  purple,  olive  green.  Certain  details  added  in 
gold  and  opaque  white. 

DECORATION 

Outside:  A  Neskhi  inscription  in  black  forms  a  frieze  around  the  bowl. 

Inside:  The  rim  is  scalloped  in  cobalt  blue.  Below  the  rim  is  an  elaborate  border  of  flowery  Cufic  writ- 
ing in  white,  outlined  in  black  on  a  cobalt  blue  background.  The  flower  scrolls  in  between  the  letters  are 
indicated  in  black  tracing.  The  type  of  writing  is  similar  to  that  of  the  inside  of  Number  1 1  and  the  out- 
side of  Number  18. 

On  the  bottom  of  the  bowl  is  a  large  medallion  with  the  representation  of  a  richly  attired  sultan  on 
horseback,  who  seems  to  hold  a  rod  which  may  be  a  polo  stick.  This  medallion  is  surrounded  by  six 
slightly  smaller  medallions  in  which  similar  men  on  horseback  are  represented,  some  of  them  with  rods 
like  that  of  the  sultan. 

The  arabesque  ornaments  separating  the  medallions  are  of  great  refinement  of  design.  The  space  be- 
tween two  of  the  outer  medallions  is  filled  by  two  symmetrical  arabesque  leaves  which  form  an  ogive. 
This  ogive  is  filled  with  a  golden  sun  or  peacock  feather  motif.  The  separations  between  the  central  me- 
dallions and  those  outside  are  triangular;  each  angle  formed  by  the  intersection  of  the  three  circles  is 
painted  respectively  red,  green  and  cobalt  blue,  the  centre  showing  the  famous  three-globe  pattern,  the 
antique  symbol  of  royalty,  reserved  in  white  with  a  golden  dot  in  the  middle. 

The  seven  horsemen  wear  the  usual  garments  and  textile  patterns.  The  man  in  the  centre  has  a  golden 
halo  while  the  haloes  of  the  others  are  simply  outlined  in  black.  The  trappings  of  the  horses  are  also  in 
the  usual  manner. 

The  three-globe  pattern  is  found  outside  of  the  medallions  in  gold  above  each  of  the  outer  medallions. 
Behind  the  man  in  the  central  medallion  is  a  golden  dot  outlined  in  black,  with  short  radiant  lines  also 
in  black.  It  is  doubtful  whether  this  may  indicate  a  sun. 

Height ,       inches;  diameter,  7}4  inches. 

This  bowl  is  now  in  the  collection  of  Mr.  Mortimer  Schirr",  New  York. 


Fig.  44.  Number  20.  Rhages  Pottery  Bowl.  Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


Fig.  45.  Number  21.  Rhages  Pottery  Bowl.  Persia,  I2th-i3th  cen 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  22,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 


"Music  on  the  Bank  of  the  Brook" 

SHAPE 

Semi-globular  bowl  on  low,  slightly  conical  foot  rim.  The  rim  of  the  bowl  is  separated  from  the  body 
by  a  slightly  raised  line  on  the  outside. 

TECHNIQUE 

Light  creamy  earthenware  covered  with  opaque  white  tin  enamel.  Decorated  in  Rhages  polychrome 
technique.  (See  Number  10.) 

Colors  employed:  Cobalt  blue,  greenish  turquoise,  deep  bolus  red  and  black,  heightened  with  gold. 

DECORATION 

Outside:  On  the  rim  is  a  border  framed  by  red  and  cobalt  blue  lines,  showing  two  zigzag  cobalt  blue 
lines  forming  a  band  of  lozenges  with  turquoise  green  gilded  dots.  Above  and  below  are  rows  of  bolus 
red  dots. 

Inside:  The  rim  is  decorated  with  a  frieze  about  three-quarters  of  an  inch  wide.  A  motif  of  numerous 
cobalt  blue  and  white  wavy  lines  with  an  almond-shaped  cobalt  blue,  white,  red  and  gold  motif  in  the 
middle,  alternates  three  times  with  a  stripe  with  four  conventionalized  cobalt  blue  Cufic  characters  or- 
namented with  greenish  turquoise  arabesque  leaves  and  gilded  and  bolus  red  dots.  This  frieze  is  fol- 
lowed by  a  second  frieze  showing  exactly  the  same  motif  as  the  border  of  the  outside. 

The  large  composition  in  the  centre  of  the  bowl  excels  in  its  dashing,  bold  design.  The  few  colors  em- 
ployed stand  out  in  their  strong  deep  tones  against  the  mellow  ivory-white  background. 

The  subject  of  the  composition  is  an  idyllic  one  which  has  been  a  continuous  inspiration  for  potters, 
miniature  painters  and  decorators,  from  the  12th  century  down  to  the  present  day.  It  shows  a  sultan 
and  a  harp  player  sitting  in  a  pleasure  garden  on  the  lawn  under  the  shadow  of  the  trees  with  swaying 
birds  in  their  branches.  Two  peacocks  are  walking  solemnly  in  opposite  representation  on  both  sides  of 
the  central  tree.  In  the  foreground,  framed  by  a  row  of  stones,  is  a  little  brook  or  pond,  the  water  of 
which  is  expressed  in  the  same  wavy  design  which  we  found  in  the  outer  border  of  the  bowl.  Two  fish 
are  swimming  in  the  pond;  the  one  is  entirely  visible,  while  the  other  peers  out  of  the  water. 

The  sultan  to  the  left  is  clad  in  a  rich  caftan  of  light  turquoise  with  an  all-over  pattern  of  lozenge- 
shaped  motives  in  gold  outlined  with  red.  He  has  two  thick  black  braids  hanging  down  on  his  shoulders 
in  front  of  the  ears.  The  female  musician  to  the  left  has  the  rather  coerced  expression  of  a  David  playing 
before  Saul.  She  is  clad  in  a  long  caftan  with  golden  wavy  lines  on  cobalt  blue  ground  and  plays  a  small 
harp. 

The  trees  are  represented  in  the  same  conventionalized  way  as  in  the  Greek  vases  and  Abbasid  mini- 
ature paintings.  The  birds  in  the  trees  are  not  depicted  very  convincingly  in  their  jumping  or  flying 
movements.  Miniature  paintings,  for  instance,  those  of  the  London  Manafi,  show  the  same  gaucherie 
when  birds  are  represented  flying.  Only  the  Chinese  artists  taught  the  Persians  how  to  express  the  rapid 
movement  of  a  bird.  The  peacocks  are  represented  with  their  tails  folded,  in  exactly  the  same  way  as  in 
some  Mohammadan  painted  ivory  caskets  about  the  same  period  or  a  little  earlier.  The  designer  of  this 
charming  decoration  has  the  horror  vacui  of  primitive  art.  The  empty  space  above  the  tree  is  filled  with 
a  palmetto  frieze,  while  rosaces  and  dots  appropriately  fill  empty  spaces  here  and  there. 

Height,  3>2  inches;  diameter,  %yi  inches. 


[13O 


NUMBER  23,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 


"The  Persian  Caravan" 

SHAPE 

Semi-globular  bowl  on  low,  slightly  conical  foot  rim.  On  the  outside  the  rim  of  the  bowl  is  separated 
from  the  body  proper  by  a  slightly  raised  line. 

TECHNIQUE 

Light  creamy  earthenware  covered  with  opaque  light  turquoise  tin  enamel.  Decorated  in  Rhages  poly- 
chrome technique.  (See  Number  10.) 

Colors  employed:  Lacquer  red,  black,  gold  and  a  few  other  shades. 

DECORATION 

Outside:  A  Neskhi  inscription  in  black  forms  a  frieze  around  the  bowl. 

Inside:  The  rim  has  a  scalloped  edge  which  seems  to  have  been  cobalt  blue.  Below  is  a  border  of  con- 
ventionalized Cufic  inscription  in  black  with  slight  touches  of  color  remaining. 

In  the  centre  of  the  bowl  is  the  following  composition:  Two  camels,  one  lacquer  red,  the  other  pink, 
walking  one  behind  the  other,  the  first  one  guided  by  a  man  with  a  short  caftan  with  a  pointed  bonnet. 
Trees  are  indicated  behind  the  camel.  Above  are  a  running  sphinx  and  a  bird  with  spread  wings.  Below 
is  a  similar  frieze,  one  sphinx  flanked  by  two  birds. 

Height^  lyi  inches;  diameter,  6>£  inches. 

NUMBER  24,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

Bowl  with  Delicate  Arabesque  Decoration 

SHAPE 

Semi-globular  bowl  on  slightly  conical  foot  rim.  On  the  outside  the  rim  of  the  bowl  is  separated  from 
the  body  proper  by  a  slightly  raised  line. 

TECHNIQUE 

Light  cream-colored  earthenware  covered  with  a  thick  coat  of  smooth  white  tin  glaze  with  fine  crackle. 
Decorated  in  Rhages  polychrome  technique.  (See  Number  10.) 

Colors  employed:  Turquoise  and  cobalt  blue,  lacquer  red,  pink  and  black. 

DECORATION 

Outside:  The  rim  is  outlined  with  a  turquoise  line.  Below  is  an  inscription  of  conventionalized  Cufic 
characters  in  cobalt  blue,  the  flowery  decoration  of  the  characters  being  in  lacquer  red. 

Inside:  The  rim  is  outlined  with  a  turquoise,  red  and  cobalt  blue  line.  Below  is  a  very  fine  and  elab- 
orate inscription  of  flowery,  but  conventionalized,  Cufic  characters  in  cobalt  blue.  The  flower  ornaments 
in  between  the  characters  are  in  lacquer  red  and  turquoise  outlined  in  black.  This  inscription  is  par- 
ticularly fine  in  character  and  proportion. 

On  the  bottom,  outlined  by  a  broad  white  border  contoured  inside  and  outside  with  red,  is  a  centre 
medallion  with  a  most  delicate  arabesque  decoration.  On  an  alternately  red  and  blue  background  with 
arabesque  motives  appears  an  eight-pointed  star  harmoniously  composed  of  cobalt  blue,  red  and  black 
divisions,  with  arabesque  and  bird  decorations  in  pink  and  light  turquoise.  In  the  largest  divisions  are 
groups  of  birds  in  opposite  representation  grouped  around  a  central  arabesque  flower.  This  motif  is 
widely  current  in  the  Mediterranean  and  Near  Eastern  textiles  of  the  same  period. 

The  design  of  this  beautiful  arabesque  star  is  perfect  in  its  proportion  and  delicacy. 

C  T33  3 


REMARKS 

Such  bowls  with  arabesque  decoration  are  sometimes  met  with.  Another  charming  specimen  from  the 
Atherton  Curtis  collection  in  Paris  is  reproduced  by  Henri  Riviere  in  his  "Ceramique  Musulmane," 
Plate  51. 

Height,  2JA,  inches;  diameter,  6}4  inches. 

This  bowl  is  now  in  the  collection  of  Mr.  Mortimer  SchifF,  New  York. 


[i34] 


Fig.  46.  Number  22.  Rhages  Pottery  Bowl  (Polychrome  Decoration). 
Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


Fig.  47.  Number  23.  Rhages  Pottery  Bowl.  Persia,  I2th-I3th  century. 
Parish-Watson  Collection. 


Fig.  48.  Number  24.  Rhages  Pottery  Bowl  with  Delicate  Arabesques.  Persia,  I2th-I3th  century. 
Formerly  Parish- Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  25,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 


PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Funnel-shaped  bowl,  the  profiles  of  the  sides  in  elegant  curve.  The  bowl  stands  on  a  cylindrical  foot 
rim. 

TECHNIQUE 

Grayish  earthenware;  the  body  is  covered  with  a  thick  cream  white  coat  of  opaque  tin  enamel,  but 
the  foot  rim  is  uncovered.  Decorated  in  Rhages  polychrome  technique.  (See  Number  10.) 
Colors  employed:  cobalt  blue,  greenish  turquoise,  bolus  red,  black  and  gold. 

DECORATION 

Outside:  The  rim  of  the  bowl  has  a  small  turquoise  band  outlined  in  black.  In  the  middle  of  the  sides 
is  a  frieze  with  two  alternating  motives  in  sketchy  execution.  The  one  shows  two  turquoise  arabesque 
leaves,  forming  an  ogive,  the  other  a  little  plant  of  two  leaves  in  cobalt  blue. 

Inside:  The  decoration  of  the  inside  is  rather  sketchy,  but  has  a  particular  charm  on  this  very  account. 
There  is  something  impressionistic  in  the  careless  certitude  in  which  the  seated  figures  of  the  main  frieze 
are  pencilled  on  the  white  tin  enamel  ground.  Certain  Japanese  artists  have  aimed  at  similar  effects. 

The  lip  of  the  rim  shows  a  cobalt  blue  scalloping  followed  by  an  energetic  border  framed  by  red  and 
cobalt  blue  lines  with  conventionalized  Cufic  characters  in  cobalt  blue.  They  are  decorated  with  bolus 
red  dots  and  turquoise  arabesque  leaves  heightened  with  gold. 

The  sides  are  filled  by  the  main  frieze,  consisting  of  nine  seated  figures  with  sketches  of  trees  in  be- 
tween them.  Types  of  the  figures  repeat  themselves.  One  seated  figure,  moving  the  arm  energetically 
and  wearing  a  cobalt  blue  caftan  with  a  pattern  of  arabesque  spirals,  is  found  three  times.  Another  figure 
in  a  greenish  garment  with  similar  pattern  is  found  twice;  so  is  a  rather  doll-like  figure  in  a  garment 
with  bolus  red,  greenish  turquoise  and  black  stripes.  Another  person  wears  a  caftan  with  the  well-known 
three-globe  pattern,  while  the  ninth  figure  has  a  cobalt  blue  undergarment  with  an  open  cloak  in  dark 
brown  with  arabesque  scroll  pattern.  All  these  figures,  singers  and  spectators,  give  the  amusing  impres- 
sion of  a  row  of  marionettes.  We  cannot  distinguish  who  is  the  sultan  and  who  is  the  main  favorite,  and 
yet  we  enjoy  the  shadowy  life  on  this  Oriental  merry-go-round. 

The  flat  bottom  shows  a  geometrical  pattern;  cobalt  blue  horizontal  and  diagonal  lines  divide  the 
field  into  triangles,  which  are  filled  carelessly  with  alternating  bolus  red  and  turquoise.  This  pattern  is 
of  course  a  simplification  of  the  well-known  late  Roman  and  Mohammadan  geometrical  interlacings, 
which  were  first  created  in  wood  panel  work,  and  later  inspire  textiles,  metal  work,  book  decoration,  etc. 

Height,  2>}4  inches;  diameter,  8y&  inches. 


[139] 


Fig.  49.  Number  25.  Rhages  Pottery  Bowl,  (Polychrome  Decoration). 
Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


NUMBER  26,  RHAGES  POTTERY  BOWL  (POLYCHROME  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"The  Hunting  Party  of  King  Bahram  Gur  and  His  Favorite,  Azadeh" 

SHAPE 

Funnel-shaped  bowl  on  circular  foot  rim;  the  rim  of  the  bowl  is  separated  from  the  body  by  a  slightly 
raised  line  on  the  outside. 

TECHNIQUE 

Light  creamy  earthenware,  covered  with  opaque  white  tin  enamel.  Decorated  in  Rhages  polychrome 
technique.  (See  Number  10). 

Colors  employed:  Cobalt  blue,  bolus  red,  manganese  purple,  olive  green,  reddish  brown  in  different 
hues,  black  heightened  with  tracery  of  opaque  white. 

DECORATION 

Outside:  Elegant  Cufic  inscription  in  cobalt  blue,  the  contour  of  the  characters  followed  by  a  white 
reserve  on  a  background  latticed  with  red  lines.  Below,  sketchy  scrolls  traced  in  red. 

Inside:  The  rim  shows  an  edge  scalloped  in  cobalt  blue.  It  is  followed  by  a  broad  band  decorated  with 
Cufic  lettering  in  cobalt  blue,  outlined  in  red  on  a  background  of  charming  scroll  work  executed  in  black 
tracery  on  white.  Then  comes  a  large  frieze  of  ten  men  on  horseback,  represented  in  vivid  attitudes  of 
great  variety.  One  of  the  horsemen  carries  a  polo  stick.  The  composition  may  represent  polo  play,  or 
perhaps  another  equestrian  game  as  discussed  in  the  Introduction. 

The  centre  medallion  is  framed  by  a  small  border  of  olive  green  and  manganese  purple  four-pointed 
stars  on  cobalt  blue  ground.  It  represents  the  story  of  King  Bahram  Gur  hunting  the  gazelle,  while  his 
favorite,  Azadeh,  is  playing  the  harp.  The  composition  shows  Bahram  Gur  seated  on  a  black  camel  of 
bold  design,  covered  with  a  cobalt  blue  saddle  cloth,  bending  his  bow,  while  Azadeh  sits  beside  him  play- 
ing the  harp.  To  the  left  are  seen  the  two  gazelles  exactly  as  mentioned  in  the  poem,  the  one  with  two 
arrows  in  the  forehead,  the  other  scratching  the  head  with  the  hind  leg.  A  figure  seems  to  be  lying  on  the 
ground  with  the  arms  outstretched.  This  may  represent  one  of  the  more  or  less  vague  attendants,  but 
it  is  more  probable  that  it  represents  Azadeh  again,  lying  on  the  ground,  trampled  to  death  by  the  camel 
of  the  irate  sultan.  Sketchy  trees  and  a  flying  bird  complete  this  charming  composition. 

REMARKS 

This  bowl  is  one  of  the  masterpieces  of  Persian  pottery  art.  The  vividness  of  the  design,  particularly 
in  the  interpretation  of  the  galloping  and  trotting  horses  and  in  the  quick  movement  of  the  horsemen, 
is  interpreted  with  unusual  dash  and  rhythm.  The  composition  of  the  camel  riders  in  the  centre  recalls 
vividly  the  miniatures  of  the  Abbasid  school.  There  are  only  a  few  Rhages  polychrome  potteries  which 
in  beauty  of  design  can  be  compared  to  this  bowl. 

We  have  been  acquainted  with  the  Persian  ceramics  of  the  12th  and  13th  centuries  for  about  forty 
years  and  probably  all  the  existing  types  are  now  known  by  one  or  several  specimens.  Therefore  we  may 
now  venture  to  classify  this  material  according  to  quality.  We  may  weed  out  a  great  number  of  medi- 
ocre specimens,  leaving  only  the  examples  of  outstanding  beauty  which  will  group  themselves  according 
to  particular  characteristics  in  technique  or  design. 

We  can  assume  that  the  production  of  such  particularly  beautiful  pieces  of  pottery  was  about  the 
same  as  the  production  of  miniature  paintings,  for  instance.  We  can  assume  that  certain  types  have 
been  made  by  certain  masters.  We  tried,  for  instance,  to  ascribe  the  different  large  turquoise  vases  with 
relief  decoration  to  the  same  kiln.  (See  Number  41).  We  tried  to  establish  a  similar  relationship  between 
the  large  relief  vase  (Number  42)  and  the  Basilewski  vase  in  Petrograd,  and  we  assumed  the  same  origin 
for  the  relief  polychrome  bowls  Numbers  33  and  34  and  a  bowl  at  the  Metropolitan  Museum  of  Art.  (See 
Figure  10). 

One  or  two  other  pieces  may  be  by  the  same  artist  as  the  present  bowl.  In  a  New  York  collection  there 
is  a  pitcher  with  one  handle  which  shows  on  a  light  turquoise  ground  a  frieze  of  men  on  horseback,  of  a 

[1433 


similar  dashing  design.  A  third  piece,  which  seems  to  be  somewhat  related,  is  the  pottery  goblet  with  a 
triple  frieze  of  compositions  reproduced  in  Martin,  "Miniatures,"  Text  Volume,  page  5. 

The  design  in  all  these  pieces  is  so  rhythmic  and  expressive  that  we  may  presume  that  a  miniature 
painter  collaborated  with  a  potter.  This,  however,  is  a  speculation. 

The  composition  of  King  Bahram  Gur  hunting  the  gazelle  is  not  rare  in  Mohammadan  art  (See  In- 
troduction, page  XXXIX  and  Number  15). 

Height,  4  inches;  diameter,  inches. 

This  bowl  is  now  in  the  collection  of  Mr.  Mortimer  Schiff,  New  York. 


[144] 


Fig.  50.  Number  26.  Rhages  Pottery  Bowl  (Polychrome  Decoration).  Persia,  I2th-i3th  century. 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  27,  RHAGES  POTTERY  BOWL  (GILT  AND  RELIEF  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

Delicate  interlacings  of  arabesque  stems,  leaves  and  medallions.  A  very  interesting  example  of  Per- 
sian arabesque  decoration. 

SHAPE 

Semi-globular  bowl  on  low,  slightly  conical  foot  rim.  On  the  outside,  the  rim  of  the  bowl  is  separated 
from  the  body  by  a  slightly  raised  line. 

TECHNIQUE 

Light  cream-colored  earthenware,  covered  with  opaque  white  tin  glaze.  The  decorations  are  painted 
in  gold  and  outlined  in  red.  Decorated  in  Rhages  polychrome  technique  (See  Number  10). 

As  far  as  the  relief  decoration  is  concerned,  there  are  three  possibilities.  (1)  The  bowl  was  moulded  in 
a  mould,  like  the  terra  sigillata  ware  and  the  Roman  Aretine  bowls.  (2)  The  reliefs  were  moulded  in  sep- 
arate moulds  and  then  applied  to  the  bowl  turned  on  a  wheel  ("sprigged"  decoration).  (3)  The  bowl  was 
turned  on  the  potter's  wheel;  a  little  supplementary  clay  was  then  carried  where  desired,  either  by  hand 
or  by  the  barbotine  process,  and  this  clay  was  then  modeled  by  hand  and  with  a  little  stick  of  wood. 

It  is  not  probable  that  these  bowls  were  moulded,  for  there  is  nothing  in  their  shape  to  distinguish 
them  from  the  bowls  without  relief  decoration  which  are  certainly  turned  on  the  potter's  wheel. "Sprigg- 
ing" also  is  not  very  probable,  except  perhaps  for  the  raised  ornaments  in  Number  28.  In  all  likelihood, 
therefore,  the  third  technique  was  used. 

DECORATION 

Outside:  The  outside  is  plain  ivory  white  except  for  the  three-globe  pattern  in  gold  outlined  in  red, 
alternating  with  single  golden  dots  which  form  a  frieze  around  the  body. 

Inside:  The  rim  is  painted  in  gold  outlined  with  red.  Below  this  is  another  frieze  in  low  relief  showing 
a  pattern  of  interlaced  scroll  work,  painted  in  gold  outlined  in  red.  The  centre  of  the  bowl  is  decorated 
with  very  fine  arabesque  stems,  leaves  and  flowers,  intermingled  with  birds  in  symmetrical  representation. 

This  ornamentation  appears  spontaneous,  but  is  built  up  on  strictly  geometrical  principles.  A  hexa- 
gon is  its  basis.  A  small  hexagonal  star  in  the  centre  and  a  large  hexagon  formed  by  twelve  arabesque 
leaves  show  this  clearly.  Within  the  hexagon  is  a  symmetrical  arrangement  of  twelve  medallions.  Many 
such  combinations  are  worked  out  in  Bourgoin's  books  on  geometrical  interlacings.  The  decoration  out- 
side of  the  large  hexagon  is  still  on  a  strictly  hexagonal  basis  but  freer  in  composition.  The  twelve 
medallions  inside  the  hexagon  show  a  relief  decoration  of  single  birds  and  (the  innermost  six)  of  ara- 
besque flowers  in  relief.  The  hexagon  itself  is  formed  by  twelve  symmetrical  arabesque  leaves  which 
develop  from  the  points  of  the  inner  row  of  small  medallions  and  which  spread  out  into  curved  arabesque 
stems  with  arabesque  flowers  in  the  middle  and  symmetrically  opposed  birds  seated  in  between  the 
stems.  The  entire  pattern  combines  power  with  gracefulness  and  shows  how  the  exuberance  of  Moham- 
madan  ornamentation  is  in  reality  the  outgrowth  of  a  mind  working  with  mathematical  clearness  and 
precision. 

Height ,  2>Y%  inches;  diameter,  %}4  inches. 


[147] 


Fig.  51.  Number  27.  Rhages  Pottery  Bowl  (Gilt  and  Relief  Decoration). 

Persia,  I2th-I3th  century. 
Parish-Watson  Collection. 


NUMBER  28,  RHAGES  POTTERY  BOWL  (GILT  AND  RELIEF  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 


A  delightful  work  of  imaginative  potting.  A  row  of  golden  fish  is  seen  swimming  on  the  turquoise  blue 
background,  which  seems  to  represent  one  of  those  little  streams  or  ponds  which  the  Persian  miniature 
painters  depicted  with  such  delight.  The  centre  medallion  of  the  bowl  seems  to  be  an  island  in  this  pond 
giving  root  to  a  fairy  tale  tree  with  large  golden  arabesque  leaves  which  in  their  turn  stand  against  the 
turquoise  background,  as  if  against  a  southern  sky. 

SHAPE 

Semi-globular  bowl  on  low,  slightly  conical  foot  rim.  The  upper  rim  of  the  bowl  is  separated  from  the 
body  proper  by  a  slightly  raised  line.  The  outside  shows  a  relief  decoration  of  raised  and  perforated 
ornaments. 

TECHNIQUE 

Light  cream-colored  earthenware  which  seems  to  be  covered  first  with  a  coat  of  opaque  white  tin  un- 
derglaze  and  afterwards  with  an  opaque  turquoise  overglaze.  On  the  foot  rim,  at  least,  the  superposi- 
tion of  the  two  coats  of  glaze  can  be  easily  distinguished. 

The  decoration  is  painted  in  gold  outlined  with  red  and  black  and  with  details  in  opaque  white. 

The  relief  decoration  has  probably  been  applied  in  the  same  way  as  Number  27.  The  raised  and  per- 
forated motives  on  the  outside  are  particularly  remarkable.  They  show  the  direct  influence  of  bronze 
forms  and  patterns  on  pottery.  Such  influence  of  bronze  vessels  on  pottery  can  be  observed  perhaps 
even  more  frequently  in  Persian  art  than  in  Chinese  pottery. 

Decorated  in  Rhages  polychrome  technique  (See  Number  10). 

DECORATION 

Outside:  The  upper  rim  marked  by  a  border  of  gilding  and  of  opaque  white  dots  framed  by  a  red  line. 
Below  this  small  border  is  an  elaborate  frieze  of  raised  and  perforated  motives,  with  two  different  types 
alternating.  The  space  between  them  is  filled  with  arabesque  motives,  scrolls  and  leaves,  partly  in  gilded 
relief,  partly  in  black,  outlined  in  white.  This  combination  of  turquoise,  black  and  gold  is  extremely  rich 
and  gorgeous  and  reminds  one  of  precious  gold  vessels  decorated  with  stones  or  enamel,  by  which  the 
potter  was  perhaps  unconsciously  influenced. 

Inside:  The  upper  rim  is  marked  by  a  border  of  gilding  and  a  row  of  opaque  white  dots  framed  above 
and  below  by  red  lines.  Below  this  border  is  an  elaborate  frieze  of  conventionalized  Cufic  characters  of 
great  beauty.  The  letters  are  slightly  in  relief  and  painted  in  gold  outlined  with  red.  Below  this  is  a  row 
of  golden  fish  swimming  on  th,e  light  turquoise  background  of  the  bowl.  Very  frequently  we  find  this  mo- 
tif of  fish  which  are  supposed  to  swim  in  the  water  contained  in  the  bowl.  We  meet  it  first  in  the  Egyp- 
tian pottery  bowls  with  turquoise  or  green  glaze  and  black  tracery  which  date  from  the  12th  dynasty 
and  later.  In  the  Mohammadan  potteries  it  is  not  at  all  rare  and  it  is  also  met  with  in  the  Chinese  celadon 
wares. 

The  centre  medallion,  outlined  with  a  border  identical  to  that  of  the  rim,  shows  an  arabesque  tree 
decorated  with  gold  outlined  in  red.  It  is  similar  to  those  frequently  used  for  the  decoration  of  the 
Rhages  pottery  with  underglaze  decoration  in  turquoise,  black  and  cobalt  blue  combined  with  lustre. 

Height,  3)4  inches;  diameter,  7^4  inches. 

This  piece  is  now  in  the  collection  of  Mr.  Mortimer  Schiff,  New  York. 


C15O 


Fig.  52.  Number  28.  Rhages  Pottery  Bowl  (Gilt  and  Relief  Decoration). 

Persia,  I2th-i3th  century. 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  29,  RHAGES  POTTERY  BOWL  (GILT  AND  RELIEF  DECORATION) 


PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Semi-globular  bowl,  standing  on  a  low  foot  rim.  Decoration  in  slightly  raised  technique,  as  in  Num- 
ber 27. 

TECHNIQUE 

Light  colored  earthenware,  decorated  in  exactly  the  same  way  as  Number  28.  The  relief  decoration 
is  painted  in  gold,  outlined  with  red  only.  The  turquoise  tin  enamel  is  not  applied  to  the  parts  in  relief, 
which  consequently  show  gold  and  red  on  a  background  of  white  tin  enamel.  The  relief  decoration  has 
been  applied  in  soft  clay  and  then  hand-modeled. 

DECORATION 

Outside:  The  rim  is  studded  with  a  row  of  gilt  raised  dots.  Below  are  curved  arabesque  leaf  motives 
with  rich  gilding,  hanging  downward  and  alternating  with  straight  ornamental  motives. 

Inside:  Two  broad  bands  of  small  arabesque  motives — the  inner  forming  a  reciprocated  tree  motif — 
mark  the  edge  of  the  rim  and  the  separation  between  the  bottom  and  sides.  The  sides  show  a  frieze  of 
eight  walking  sphinxes.  Each  sphinx  is  separated  from  the  other  by  a  vertical  motif,  the  upper  and  lower 
part  of  which  are  formed  by  the  same  tree  motif  which  forms  the  inner  separation  strip,  while  the  mid- 
dle of  the  motif  is  circular.  The  sphinxes  are  crowned.  The  front  shoulders  are  set  off  by  an  energetic 
semi-circle;  the  wings  are  outlined  by  powerful  strokes.  The  movement  of  the  animals  is  monumental 
and  slow,  betraying  the  influence  of  older  Persian  art.  The  sphinx  motif  has  been  discussed  in  the  Intro- 
duction. The  bottom  of  the  bowl  forms  a  beautiful  medallion  in  which  we  see  two  analogous  rampant 
sphinxes  in  opposite  symmetrical  representation,  on  a  background  of  arabesque  scroll  work  of  simple 
design.  The  artist  played  with  his  motif  and  let  the  wings  of  the  sphinxes  end  in  two  symmetrical  ara- 
besque leaves  which  enclose  a  drooping  palmetto  flower. 

Height,       inches;  diameter,  Syi  inches. 


NUMBER  30,  RHAGES  POTTERY  BOWL  (POLYCHROME  AND  RELIEF  DECORATION) 


PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Semi-globular  bowl,  standing  on  a  low  foot  rim.  On  the  outside  a  slightly  raised  line  separates  the  rim 
from  the  body. 

TECHNIQUE 

Grayish  earthenware,  covered  with  opaque  white  tin  enamel.  Exactly  the  same  technique  as  Number 
31. 

Colors  employed:  Cobalt  blue,  bolus  red,  manganese  purple,  green,  black  and  gold. 
The  figural  motives  are  in  Rhages  polychrome  technique;  (see  Number  10)  the  arabesque  ornamenta- 
tion slightly  raised  and  gilt,  outlined  in  red. 

DECORATION 

Outside:  Turquoise  rim  with  golden  dots.  Elegant,  fringe-like  arabesque  tracery  in  cobalt  blue  with 
golden  dots  outlined  in  red. 

Inside:  A  graceful  system  of  palmetto  motives  ties  the  decoration  of  border  and  centre  together.  In 
the  bottom  of  the  bowl  is  the  composition  of  a  sultan  seated  on  his  throne,  the  drinking  goblet  in  his 
hand,  while  two  servants  are  half  hidden  behind  the  back  screen  of  the  throne.  A  dish  of  fruit  stands  in 
front  of  the  sultan.  The  pattern  of  the  garment  of  the  sultan  is  particularly  interesting,  as  it  shows  an 
all-over  pattern  of  hexagonal  stars  connected  by  straight  lines  and  forming  a  geometrical  all-over  pat- 
tern similar  to  those  which  we  know  from  Hispano-Arabic  textiles  and  from  the  textiles  represented  on 
the  famous  ivory  plaques  belonging  to  the  Bargello  in  Florence  (Carrand  Collection). 

This  central  group  is  framed  by  a  hexagon  formed  by  double  arabesque  leaves  with  bold  arabesque 
finials  on  each  outer  angle.  In  the  middle  of  each  side  of  the  hexagon,  a  palmetto  stem  connects  with  the 
rim  of  the  bowl.  This  palmetto  is  in  the  shape  of  a  fleur-de-lys.  Above,  a  medallion-like  motif,  another 
fleur-de-lys  and  a  final  bracket  of  palmetto  leaves,  form  a  kind  of  capital  just  below  the  outside  rim  of 
the  bowl.  This  motif  is  very  interesting,  as  it  shows  the  survival  of  Sassanian  motives  in  the  12th  and 
13th  centuries.  An  analogous  motif  is  found  in  Pezard,  Plate  10,  lower  left,  and  many  other  analogies 
can  be  found  in  Smirnow's  "Argenterie  Orientale." 

The  six  compartments  between  these  raised  and  gilt  palmetto  stems  are  decorated  in  Rhages  poly- 
chrome technique,  each  with  a  seated  figure  in  vivid  gesture.  These  figures  seem  to  be  singers.  Haloes 
frame  their  heads.  The  garments  are  patterned  in  the  well-known  style  and  show  theTiraz  ribbon.  The 
combination  of  the  archaic  palmetto  ornamentation  and  gilt  relief  with  the  elegant  spacing  of  the  poly- 
chrome decoration  is  extremely  graceful. 

Height,  ?>}4  inches;  diameter,  inches. 

This  piece  is  now  in  the  collection  of  Mr.  Mortimer  Schiff,  New  York. 


[157] 


Fig.  53.  Number  29.  Rhages  Pottery  Bowl  (Gilt  and  Relief  Decoration). 

Persia,  I2th-i3th  century. 
Parish-Watson  Collection 


Fig.  54.  Nimber  30.  Rhages  Pottery  Bowl  (Polychrome  and  Relief  Decoration). 

Persia,  I2th-I3th  century. 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  31,  RHAGES  POTTERY  BOWL  (POLYCHROME  AND  RELIEF  DECORATION) 


PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Semi-globular  bowl,  standing  on  a  low  foot  rim.  A  slightly  raised  line  on  the  outside  separates  the 
rim  from  the  body  proper. 

TECHNIQUE 

Grayish  earthenware,  covered  with  opaque  white  tin  enamel  and  decorated  in  the  Rhages  polychrome 
technique.  (See  Number  10.) 

Colors  employed:  Cobalt  blue,  bolus  red,  olive  green,  brownish  tints,  black  and  gold. 

The  undulated  arabesque  stems  forming  the  background  of  the  frieze  of  the  sides,  and  the  border, 
separating  the  medallion  on  the  bottom  from  the  sides,  are  slightly  raised. 

DECORATION 

Outside:  Sketchy  arabesque  frieze  in  black,  light  turquoise  and  cobalt  blue,  filling  almost  the  entire 
surface  of  the  bowl. 

Inside:  The  rim  is  ornamented  with  a  gilt  line  and  a  broader  cobalt  blue  band,  decorated  with  undu- 
lated stems,  slightly  raised  and  gilt.  The  sides  are  filled  with  a  broad  frieze  of  seven  horsemen  and  two 
attendants.  These  figures  are  represented  on  a  background  of  two  interlaced  undulated  stems,  raised 
and  gilt,  with  attached  arabesque  leaves.  This  combination  of  ornamental  background  and  polychrome 
figures  produces  a  most  charming  effect.  The  men  on  horseback  are  vividly  sketched.  The  rapid  move- 
ment of  the  swiftly  trotting  and  galloping  horses  is  well  interpreted.  The  whole  composition  seems  to 
represent  some  equestrian  game.  (See  Introduction,  page  LXIII.)  The  horsemen  are  grouped  by  pairs, 
one  riding  toward  the  other.  The  seventh  one  is  flanked  on  either  side  by  an  attendant  on  foot. 

The  pattern  of  the  garments  of  the  different  figures  are  well  sketched.  They  are  the  same  diaper  pat- 
terns which  we  have  already  observed  on  other  bowls.  The  central  medallion  on  the  bottom  of  the  bowl 
is  separated  from  the  sides  by  a  double  band — first,  repeated  palmettoes,  raised,  gilt  and  outlined  in 
red,  followed  on  the  inside  by  a  cobalt  blue  line  with  raised  gilt  dots. 

The  well-known  composition  of  the  sultan  sitting  on  his  throne,  drinking,  occupies  the  central  medal- 
lion. The  back  of  the  throne  is  in  the  form  of  a  three  fold  screen  with  four  posters.  One  dancer  stands  at 
either  side;  two  sketchy  peacocks  rest  at  the  feet  of  the  sovereign,  while  two  symbolic  falcons  are  rep- 
resented above. 

Height ,  4  inches;  diameter  8^4  inches. 


[163] 


Fig.  55.  Number  31.  Rhages  Pottery  Bowl  (Polychrome  and  Relief  Decoration). 

Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


ft 


NUMBER  32,  RHAGES  POTTERY  JAR  (POLYCHROME  AND  RELIEF  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Same  shape  as  Number  15.  Bulbous  body  standing  on  a  low  foot  rim  and  tapering  into  a  wide,  short 
neck.  On  the  left  and  right  two  handles  in  the  shape  of  plastic  lions  connect  lip,  upper  neck  and  shoulder. 
In  the  front  and  in  the  rear  a  tubular  spout  sharply  bent  at  its  upper  end. 

TECHNIQUE 

Grayish  earthenware,  covered  with  a  fine  opaque  turquoise  tin  glaze.  The  decoration  in  relief  is  the 
same  technique  as  Number  28.  The  raised  parts  of  the  decoration  are  gilt  outlined  in  red. 

DECORATION 

Outside:  The  turquoise  blue  lions  of  the  handles  wear  gilt  collars;  details  of  their  bodies  are  accentu- 
ated by  black  outlines.  At  the  base  of  the  spouts  are  raised  almond-shaped  motives  with  delicate  ara- 
besque decoration  in  relief.  The  handles  and  the  spouts  divide  the  body  into  four  compartments,  deco- 
rated with  practically  the  same  motif. 

The  lip  is  accentuated  by  a  double  line  in  black  and  faint  gold.  The  decoration  of  the  body  is  divided 
into  quarter  sections,  each  with  an  arabesque  tree,  which  is  on  the  point  of  dissolving  itself  in  an  all-over 
arabesque  decoration.  In  the  centre  of  the  composition  two  large  arabesque  leaves  curve  like  a  heart 
around  a  raised,  almond-shaped  centre  surrounded  by  small  scrolled  stems  and  foliage.  Above,  three 
small  relief  motives,  surrounded  by  similar  small  scroll  work,  form  a  frieze  just  below  the  rim.  Below  the 
central  motif  wedge-shaped  ornaments  point  to  an  almond-shaped  motif  in  the  middle.  The  main  mo- 
tives are  surrounded  by  ornamentation  in  low  relief  of  scrolled  stems  and  foliage  and  are  themselves 
decorated  with  slightly  undulated  lines.  All  this  decoration,  with  its  rich  yet  refined  gilding,  forms  a 
striking  contrast  with  the  beautiful  turquoise  blue  background. 

The  lower  part  of  the  body  is  covered  only  by  the  unctuous  turquoise  blue  glaze,  which  also  covers  a 
part  of  the  base  in  thick  drops. 

Inside:  Plain  glaze. 

Height ,  Syi  inches;  diameter,  8  inches. 

This  jar  is  now  in  the  collection  of  Mr.  John  N.  Willys,  Toledo,  Ohio. 


[167] 


Fig.  56.  Number  32.  Rhages  Pottery  Jar  (Polychrome  and  Relief  Decoration). 

Persia,  I2th-i3th  century. 
Formerly  Parish-Watson,  now  John  N.  Willys  Collection. 


NUMBER  33,  RHAGES  POTTERY  BOWL  (POLYCHROME  AND  RELIEF  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"A  Musical  Entertainment — Harpsichord  and  Song" 

SHAPE 

Semi-globular  bowl  standing  on  a  slightly  conical  foot  rim.  A  slightly  raised  line  on  the  outside  sepa- 
rates the  rim  of  the  bowl  from  the  body.  Decoration  in  low  relief,  as  in  Number  27. 
TECHNIQUE 

Cream-colored  earthenware  covered  with  a  thick  coat  of  opaque  white  tin  enamel.  Decorated  in  Rhages 
polychrome  technique  (See  Number  10). 

Colors  employed:  Lacquer  red,  cobalt  blue,  turquoise  blue,  pink,  black  and  gold.  Opaque  white,  lac- 
quer red  and  touches  of  gold  are  used  for  smaller  details. 

The  relief  decoration  is  technically  identical  with  that  of  Number  27. 

DECORATION 

Outside:  The  upper  rim  is  decorated  with  a  turquoise  green  and  red  outline  which  is  followed  by  a 
frieze  of  conventionalized  Cufic  characters  in  cobalt  blue.  The  flower  ornaments  in  between  the  charac- 
ters are  in  turquoise  green  with  red  dots.  Below  this  are  alternating  motives  of  two  arabesque  leaves  and 
of  an  endless  knot. 

Inside:  The  rim  is  outlined  by  successive  lines  in  gold  and  a  relief  frieze  of  conventionalized  curved 
stems  and  leaves  in  gold  and  red,  bordered  above  and  below  by  broad  cobalt  blue  bands. 

The  inside  of  the  bowl  shows  one  of  the  largest  and  most  gorgeous  figural  representations  which  we 
know  of  in  the  Rhages  polychrome  group  with  relief  decoration.  On  a  plane  surface  the  figures  would  be 
about  nine  inches  high.  It  cannot  be  definitely  ascertained  whether  the  group  represents  a  sultan  listening 
to  the  music  of  the  harpsichord  or  whether  it  shows  two  women.  The  latter  seems  more  probable  if  we 
judge  from  similar  compositions  and  from  the  type  of  headdress  of  the  figure  to  the  left.  The  figures  are 
seated  on  a  background  of  arabesque  scroll  work  in  slight  relief,  with  an  all-over  decoration  in  gold  and 
outlines  of  thin  tracings  in  red.  The  filling  of  the  space  and  the  compactness  of  the  composition  is  most 
interesting. 

The  heads  of  both  figures  are  surrounded  by  large  haloes,  which  have  no  symbolic  meaning  and  only 
accentuate  the  importance  of  the  figures  represented. 

The  figure  to  the  left  is  most  probably  a  singing  woman.  It  is  not  clear  whether  she  wears  a  gold- 
encircled  black  bonnet  or  only  a  kind  of  golden  ferroniere.  The  costumes  of  both  figures  have  been  dis- 
cussed in  the  Introduction.  The  geometrical  patterns  of  the  undergarments  of  both  figures  are  not  rare 
in  miniature  paintings,  and  some  Spanish-Moorish  brocades  with  similar  geometrical  patterns  are  still 
in  existence.  The  ivory  reliefs  in  the  Bargello  show  dancers,  etc.,  clad  in  identical  brocades.  The  second 
woman  holds  a  musical  instrument  which  may  be  a  zither  or  a  clavichord. 

REMARKS 

Such  compositions  are  found  elsewhere  than  on  potteries.  They  are  not  rare  in  Mossoul  bronze  work 
inlaid  with  silver  and  gold.  But  the  most  interesting  interpretation  is  perhaps  on  the  famous  carved 
ivory  plaques  in  the  Bargello  in  Florence  (Munich  Mohammadan  Exhibition,  Plate  253). 

The  present  bowl,  Number  34,  and  the  bowl  at  the  Metropolitan  Museum  (Figure  10)  have  so  much 
in  common  that  we  would  like  to  ascribe  them  to  the  same  artist.  The  size  of  the  three  pieces,  the  im- 
portance of  the  figures  represented,  the  similarity  of  treatment,  point  to  the  same  origin.  Certain  details 
also  confirm  this  supposition.  The  arabesque  scroll  background  in  the  three  pieces  is  very  similar.  The 
outside  and  inside  rims  on  Number  33  and  Number  34  are  the  same.  We  were  not  able  to  ascertain 
whether  both  pieces  were  found  on  the  same  spot. 

H eighty  2>}4  inches;  diameter,  S^i  inches. 

This  bowl  is  now  in  the  collection  of  Mr.  Mortimer  Schiff,  New  York. 


[i7i] 


i 


Fig.  57.  Number  33.  Rhages  Pottery  Bowl.  Persia,  I2th-i3th  century. 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  34,  RHAGES  POTTERY  BOWL  (POLYCHROME  AND  RELIEF  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 

"A  Falconer  on  Horseback" 

A  remarkable  specimen  of  Rhages  pottery  with  relief  decoration,  to  which  may  be  compared  an  anal- 
ogous piece  in  the  Metropolitan  Museum  of  Art  in  New  York. 

SHAPE 

Semi-globular  bowl  standing  on  a  low,  slightly  conical  foot  rim.  The  rim  of  the  bowl  is  separated  from 
the  body  by  a  slightly  raised  line  on  the  outside. 

TECHNIQUE 

Cream-colored  earthenware  covered  with  a  thick  coat  of  opaque  white  tin  enamel.  Decorated  in 
Rhages  polychrome  technique  (See  Number  10). 

Colors  employed:  Lacquer  red,  cobalt  blue,  turquoise,  pink,  black;  gold  and  red  for  the  details. 
The  main  features  of  the  composition  are  in  low  relief. 

DECORATION 

Outside:  Exactly  the  same  decoration  as  in  bowl  Number  33. 

Inside:  Exactly  the  same  composition  on  the  rim  as  in  Number  33.  The  composition  is  on  the  same 
large  scale  and  shows  a  beautiful  background  of  bold  arabesque  scrolls  with  leaves  and  flowers  in  gold, 
outlined  in  red  on  the  ivory  white  background.  Against  this  background  is  set  the  figure  of  a  young 
sultan  on  horseback,  while  a  bird — either  a  falcon  or  duck — flies  in  the  air  above  him.  A  small  black  cap 
with  a  gold  ornament  in  the  middle  adorns  the  sultan's  head;  his  hair  falls  in  long  black  tresses  in  front 
of  his  ears.  This  bowl  is  a  very  good  illustration  of  this  type  of  hairdress,  which  so  often  leads  to  the  con- 
fusion of  the  subjects  represented.  Behind  the  sultan's  head  is  a  large  halo.  His  caftan  is  in  turquoise 
green  with  a  small  diamond  pattern  indicated  in  red  and  gold.  On  the  sleeves  are  the  wide  Tiraz  galoons. 
The  horse  is  blue,  a  color  frequently  found  in  the  miniature  paintings  of  a  later  period.  The  trappings 
of  the  horse  are  very  rich.  The  saddle  consists  of  a  red  cover,  bordered  with  blue  and  decorated  with 
gold. 

REMARKS 

The  motif  of  the  hunter  on  horseback  is  very  frequent  in  Sassanian  and  Persian  art.  It  is  found  single 
and  in  opposite  symmetrical  representation  (See  Introduction,  page  XXVI,  LVIII).  Because  of  the  close 
relationship  in  style  and  conception  between  this  bowl  and  Number  33,  we  are  tempted  to  ascribe  it  to 
the  same  maker.  At  the  Metropolitan  Museum  of  Art  there  is  a  beautiful  pottery  bowl  of  about  the  same 
size,  showing  the  large  representation  of  a  man  on  horseback  on  a  background  of  arabesque  scrolls  (See 
Figure  10).  This  bowl,  too,  may  be  ascribed  to  the  same  maker. 

Height,  3}i  inches;  width,  inches. 

This  bowl  is  now  in  the  collection  of  Mr.  Mortimer  Schiff,  New  York. 


[175] 


Fig.  58.  Number  34.  Rhages  Pottery  Bowl.  Persia,  I2th-i3th  century. 
Formerly  Parish-Watson,  now  Mortimer  Schiff  Collection. 


NUMBER  35,  RHAGES  POTTERY  BOTTLE  (POLYCHROME  AND  RELIEF  DECORATION) 

PERSIA,  12TH  TO  13TH  CENTURY 


A  rich  harmony  of  light  turquoise  and  gold.  A  somewhat  baroque  form  inspired  by  bronze  shapes.  In- 
teresting decoration  of  griffons  and  birds  combined  with  raised  and  perforated  ornaments. 

SHAPE 

Globular  body  standing  on  a  low,  slightly  conical  foot  rim.  The  tall  neck  rises  from  a  cylindrical,  drum- 
shaped  base.  Tubular  neck  swelling  into  a  bulbous  mouthpiece  which  is  surmounted  by  a  short,  cylin- 
drical lip  piece  broadening  into  a  lip  rim. 

TECHNIQUE 

Cream-colored  earthenware  covered  with  turquoise  opaque  tin  enamel.  Decorated  in  Rhages  poly- 
chrome technique.  (See  Number  10.) 

Colors  employed:  Gold  outlined  with  red;  cobalt  blue  with  black  and  opaque  white. 

The  relief  decoration  and  the  raised  and  perforated  ornaments  are  analogous  to  those  of  Number  34. 

DECORATION 

Neck:  Below  the  lip  piece  on  the  upper  part  of  the  bulbous  mouth  is  a  frieze  in  which  opaque  white 
rosaces  outlined  in  red  on  a  gold  ground,  alternate  with  rectangles,  filled  with  opaque  white  dots  on  a 
gold  ground.  Similar  patterns  are  frequently  found  as  the  decoration  of  enameled  glass  from  Syria  or 

A  large  frieze  covers  the  main  part  of  the  mouthpiece.  Almond-shaped  medallions  in  low  relief  form 
the  centre  for  four  groups  of  ornate  arabesque  scrolls  with  leaves. 

The  tall  neck  has  as  sole  decoration  two  bands  of  curved  stems  and  white  dots  (as  above)  on  gold 
ground. 

Body:  The  shoulder  bears  a  frieze  of  greyhounds  or  hunting  leopards  pursuing  hares.  The  composition 
is  in  slight  relief,  outlined  in  red  on  a  gold  ground. 

Below  this  frieze,  covering  the  entire  upper  half  of  the  body,  is  an  elaborate  composition  repeated 
four  times.  In  the  centre  we  find  a  large  raised  and  perforated  almond-shaped  motif,  painted  gold  and 
red,  and  outlined  with  a  cobalt  blue  border  dotted  with  opaque  white.  This  motif  is  surrounded  by  very 
rich  arabesque  scroll  work.  On  both  sides  of  the  central  motif  are  two  winged  griffons,  seated.  Below  are 
two  birds  in  opposite  symmetrical  representation. 

On  both  sides,  separating  this  composition  from  the  next  one,  are  two  raised  and  perforated  medal- 
lions, the  upper  one  round,  the  lower  one  almond-shaped.  These  are  connected  by  a  cobalt  blue  border 
dotted  with  opaque  white. 

The  lower  part  of  the  body  is  covered  with  two  systems  of  curved  stems  (cobalt  blue  and  light  tur- 
quoise, outlined  in  black),  which  form  two  superposed  series  of  ogives.  The  same  motif  often  occurs  in 
Persian  art,  for  instance,  in  the  Kirman  vase  rugs  of  the  15th-16th  century. 

REMARKS 

Such  bottles  with  relief  decoration  are  very  rare.  Another  bottle  with  similar  relief  decoration  was  ex- 
hibited at  the  Munich  Mohammadan  Exhibition  in  1910.  It  was  reproduced  by  F.  Sarre  and  F.  R.  Mar- 
tin in  the  great  publication  of  the  exhibition,  Plate  98.  (See  Figure  69.) 

Height 13  inches;  diameter  of  the  body,  about  8  inches. 


Ci79} 


Fig.  59.  Number  35.  Rhages  Pottery  Bottle  (Polychrome  and  Relief  Decoration). 

Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


NUMBER  36,  RHAGES  POTTERY  PITCHER  (RELIEF  DECORATION) 
PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Globular,  slightly  compressed  body,  ending  in  a  truncated  base.  Wide,  cylindrical  neck  with  one  han- 
dle connecting  the  lip  with  the  shoulder. 

TECHNIQUE 

This  pitcher  is  of  a  very  rare  technique.  The  polychrome  ornamentation  in  slightly  raised  relief  is 
not  shown  against  the  usual  glazed  background,  in  which  the  clay  of  the  body  is  covered  by  a  slip  or 
by  a  white  or  colored  glaze.  The  background  is  the  grayish  clay  of  the  body  without  any  embellishment 
or  glazing.  Only  the  ornamentation  is  enameled.  In  porcelain  we  would  call  this  technique  "enameled 
on  biscuit."  The  only  other  specimen  known  to  us  in  this  technique  is  a  very  similar  pitcher  at  the  Met- 
ropolitan Museum  of  Art  (Figure  61). 

In  the  present  pitcher  some  parts  of  the  decoration,  knobs  and  white  arabesques,  are  slightly  raised 
and  covered  with  white  tin  enamel.  Afterwards  these  parts  were  outlined  with  a  thin  line  of  bolus  red 
and  heightened  with  gold  which  may  have  been  partly  applied  with  the  brush.  However,  in  the  main 
parts  gold  leaf  is  used.  This  is  proved  by  the  exact  and  sharp  rectangular  cutting  of  some  of  the  gildings. 
There  is  no  reason  for  painting  gold  ornamentation  in  sharp  squares,  but  it  is  entirely  plausible  that  the 
decorator  cut  rectangles  of  gold  leaf  and  applied  them  to  the  pot. 

Another  part  of  the  decoration  was  executed  by  applying  cobalt  blue  glaze  on  the  body.  These  cobalt 
blue  parts  are  decorated  by  painted  lines  and  dots  in  opaque  white  slip  on  the  cobalt  blue,  intermingled 
with  gilding.  This  part  of  the  technique  corresponds  exactly  to  the  style  of  Number  44. 

DECORATION 

Neck:  On  the  inside  of  the  neck  are  a  few  ornaments  indicated  in  white  and  cobalt  blue  tin  enamel, 
put  on  the  unglazed  clay.  The  neck  is  decorated  on  lip  and  transition  to  the  shoulder  by  an  undulated 
band  in  raised  white  tin  enamel,  framed  above  and  below  by  two  cobalt  blue  bands  outlined  with  bolus 
red  on  white  slip  and  dotted  with  gold  leaf  squares  and  white  slip  dots. 

The  main  frieze  is  decorated  with  a  row  of  rosaces  with  leaf  motives  above  and  below  in  white  tin 
enamel,  outlined  in  red  and  in  gilt  with  gold  leaf.  The  rosaces  are  separated  by  two  cobalt  blue,  deli- 
cately undulated  strips,  with  a  sketchy  vertical  motif  in  white  tin  enamel  in  the  middle. 

Body:  The  body  is  decorated  with  an  arabesque  ornamentation,  pendant  from  the  neck,  which  we 
might  compare  with  knotted  fringe.  Two  rows  of  dots  connected  by  arabesque  motives,  all  in  white  tin 
enamel,  form  the  backbone  of  this  ornamentation  which  is  enriched  in  between  by  other  arabesque  leaves 
in  cobalt  blue.  The  entire  sketchy  character  of  this  decoration  is  very  well  within  the  spirit  of  pottery, 
and  the  color  effect  of  the  buff  unglazed  clay  with  the  cobalt  blue  and  white  tin  enamel,  combined  with 
the  rich  gilding  and  red  outlines,  is  extremely  subtle  and  pleasant. 

Being  entirely  unglazed  inside  and  partly  unglazed  outside,  this  pitcher  is  porous  for  water.  Conse- 
quently it  falls  into  the  category  of  the  well-known  Near  Eastern  and  Southern  European  water  recep- 
tacles with  porous  body,  in  which  the  water  is  continually  kept  cool  through  the  evaporation  of  the  filter- 
ing water  on  the  outside.  Generally  such  vessels  are  only  decorated  with  incised  motives.  In  the  present 
specimen  the  potter  has  combined  porosity  with  rich  enamel  decoration. 

REMARKS 

It  is  interesting  to  compare  the  decoration  of  this  piece  with  that  of  the  specimen  at  the  Metropolitan 
Museum,  which  is  about  8$4  inches  high.  The  decoration  of  the  Metropolitan  Museum  piece  consists 
of  vertical  bands,  half  of  which  are  ornamented  with  very  thin  cobalt  enamel  wave  lines  on  biscuit,  while 
the  other  half  shows  a  decoration  of  two  interlaced  undulated  stems  with  arabesque  leaves  in  cobalt  blue 
on  biscuit. 

Height,  6}4>  inches. 


£183] 


Fig.  60.  Number  36.  Rhages  Pottery  Pitcher  (Relief  Decoration). 
Persia,  I2th-i3th  century. 
Parish-Watson  Collection. 


NUMBER  37,  POTTERY  EWER  WITH  RELIEF  DECORATION 

PERSIA,  13TH  CENTURY 


An  important  specimen  of  Persian  pottery,  showing  the  close  relation  between  the  shapes  of  Moham- 
madan  bronzes  and  potteries. 

SHAPE 

Cylindrical  body,  slightly  widening  towards  the  top.  Flat  shoulder.  Tall  cylindrical  neck  with  long 
spout.  A  four-sided  handle  connects  the  thick  lip  rim  of  the  mouth  with  the  shoulder.  The  ewer  has  no 
foot,  but  stands  directly  on  the  body,  the  bottom  of  which  is  bent  slightly  inward. 

TECHNIQUE 

Cream-colored  earthenware  covered  with  a  thickopaque  turquoise  tin  glaze.  The  decoration  is  moulded. 
The  ewer  has  not  been  turned  on  the  wheel,  but  the  two  halves  were  moulded  in  a  form  and  put  together 
while  still  soft.  This  technique  occurs  quite  frequently  and  is  found,  for  instance,  in  the  beautiful  ewers 
with  a  frieze  of  dancing  men  and  women.  In  the  present  piece  the  interruption  of  the  pattern  is  quite 
visible  in  the  middle  of  the  front  and  the  back,  where  the  two  halves  were  put  together. 

DECORATION 

The  turquoise  glaze  is  of  course  much  thinner  on  the  raised  parts  of  the  relief  decoration.  On  these 
parts  the  white  ground  shines  through  and  thus  creates  a  color  contrast  between  the  higher  raised  parts 
and  the  turquoise  blue  background. 

Neck:  The  spout  is  decorated  on  the  outside  with  thin  spirals  and  curved  lines.  On  both  sides  of  the 
neck  are  two  seated  lions  on  a  background  of  spiral  scroll  work.  This  is  a  very  old  motif  of  the  well-known 
Mossoul  bronzes. 

Body:  The  horizontal  shoulder  is  plain,  except  for  three  raised  rosaces,  which  are  scarcely  visible 
through  the  thick  opaque  glaze. 

On  the  rim  of  the  body,  just  below  the  shoulder,  is  a  Neskhi  inscription  with  three  circular  medallions 
bearing  the  representation  of  a  crane  or  stork  in  between. 

The  body  itself  is  decorated  with  a  symmetrical  composition  on  both  sides,  composed  of  a  repeated 
group  of  medallions  and  of  spiral  scroll  work  which  is  not  always  very  clear  and  distinct.  In  the  centre 
is  a  quatrefoil  motif  with  a  raised  medallion  underneath,  in  which  a  crane  is  distinctly  represented.  On 
both  sides  of  this  central  motif,  connected  by  a  more  or  less  clearly  indicated  system  of  spiral  scrolls,  are 
two  other  leaf  and  curved  stem  motives,  lyre-shaped,  the  lower  one  turned  downward,  in  which  we  may 
perhaps  recognize  a  nearly  indiscernible  decoration  of  two  birds  in  symmetrical  representation  on  a 
background  of  scrolls. 

Smaller  raised  medallions  and  spiral  scrolls  complete  this  composition,  which  has  a  picturesque  and 
charming  spontaneity. 

REMARKS 

The  shape  of  this  vase  is  borrowed  from  Mohammadan  bronzes.  The  motif  to  the  right  and  the  left 
of  the  neck — hardly  discernible  on  the  present  pottery — appears  clearly  as  a  seated  lion  on  several  bronze 
ewers,  made  at  Mossoul  in  the  12th  and  13th  centuries  (Compare  Exposition  des  Arts  Musulmans  au 
Musee  des  Arts  Decoratifs,  Paris,  1903,  par  Gaston  Migeon.  Ewer  from  Ch.  Gillot  collection,  PI.  9). 
A  frieze  of  similar  lions  is  found  on  the  chandelier  of  the  Piet  Latandrie  collection,  now  in  the  Musee  des 
Arts  Decoratifs,  Paris  (see  Migeon,  Exp.  d'Art  Mus.  pi.  10).  Seven  ewers  of  exactly  the  same  type  have 
been  published  in  the  Munich  Mohammadan  Exhibition's  publication  (PI.  141,  142,  143,  three  from 
the  Sarre  collection,  Berlin,  one  from  the  Polovtsov  coll.  Petrograd,  three  from  the  Bobrinskoy  collec- 
tion, Petrograd).  These  numerous  examples  show  the  frequency  of  this  motif.  We  reproduce  two  of  these 
specimens  in  Figure  64;  (Sarre  coll.  No.  3046,  pi.  141  of  the  Munich  publication)  and  Figure  63  now  at 
the  Metropolitan  Museum  of  Art,  formerly  in  the  Homberg  collection  in  Paris. 

Height^  \  \z/2  inches;  diameter  about  6  inches. 


[187] 


Fig.  6i.  Pottery  Pitcher.  Rhages,  I2th-i3th  century. 
Metropolitan  Museum  of  Art,  New  York. 


Fig.  62.  Number  37.  Pottery  Ewer  with  Relief  Decoration.  Persia,  13th  century. 

Parish-Watson  Collection. 


NUMBER  38,  POTTERY  BOTTLE  WITH  RELIEF  DECORATION 
PERSIA,  LATE  13TH  CENTURY 


Interesting  specimen  with  animal  relief  decoration,  closely  related  to  the  animal  representations  in 
contemporaneous  manuscripts  of  natural  history. 

SHAPE 

Globular  body  standing  on  a  low  cylindrical  foot  rim.  The  neck  is  tubular,  tapering  towards  the  top 
which  is  in  the  shape  of  a  bull  monster's  head,  similar  to  those  on  the  Persian  battle  clubs. 

TECHNIQUE 

Rather  rough  grayish  earthenware,  which  is  only  partly  covered  with  a  translucent  and  finely  crackled 
turquoise  lead  glaze.  The  lower  part,  which  is  not  covered  with  the  turquoise  glaze,  is  somewhat  vitri- 
fied by  some  other  colorless  translucent  underglaze  which  has  permeated  the  paste  to  such  an  extent 
that  it  is  nearly  like  stoneware  and  cannot  be  scratched  with  a  knife.  The  deeper  parts  of  the  pottery, 
however,  seem  to  be  of  the  usual  softer  texture. 

The  relief  decoration  has  evidently  been  modeled  by  hand  in  plastically  applied  clay,  after  the  turn- 
ing of  the  piece.  No  sutures  of  a  mould  are  visible  and  the  modeling  is  so  bold  that  it  appears  not  to  have 
been  made  by  the  somewhat  mechanical  process  of  moulding. 

DECORATION 

Neck:  The  neck,  with  its  roughly  modeled  bull's  head,  seems  to  be  quite  different  in  style  from  the 
subtle  modeling  on  the  body.  However,  there  cannot  be  the  slightest  doubt  that  neck  and  body  belong 
together,  as  there  are  several  13th  century  vases  with  the  same  bull  head  and  the  same  discrepancy  in 
the  style  of  decoration. 

Body:  On  the  shoulder  around  the  beginning  of  the  neck  is  a  frieze  of  round  dots  forming  a  border, 
and  below  this  another  frieze  of  delicate  curved  scrolls  with  spiral  tendrils.  This  is  followed  by  a  large 
frieze  in  bold  relief  with  four  animals  pursuing  one  another  on  a  background  of  conventionalized  ara- 
besque plants.  These  animals  consist  of  a  lion  running  after  a  bull  and  a  greyhound  pursuing  a  gazelle 
or  mountain  goat.  The  frieze  is  characterized  by  rapid  and  lively  movement  of  the  animals.  The  char- 
acter of  the  spiral  scrolls,  the  details  of  the  foliage  and  the  palmetto  flowers  remind  one  very  strongly 
of  similar  compositions  in  contemporaneous  manuscripts  (See  Figure  5). 

REMARKS 

Another  pottery  bottle  with  practically  identical  relief  decoration  is  in  the  Louvre  in  Paris.  The  neck 
of  this  piece  is  missing.  It  is  reproduced  by  Riviere,  "Ceramique  Musulmane,"  Plate  69.  The  Metro- 
politan Museum  possesses  another  charming  specimen  of  the  same  type  (See  Figure  3). 

Height,  14  inches;  diameter,  about  8^2  inches. 


[193] 


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Fig.  65.  Number  38.  Pottery  Bottle  with  Relief  Decoration.  Persia,  late  13th  century. 

Parish-Watson  Collection. 


NUMBER  39,  POTTERY  BOTTLE  WITH  RELIEF  DECORATION 

PERSIA,  13TH  CENTURY 


One  of  the  finest  specimens  of  Persian  cobalt  blue  glaze.  A  shape  apparently  influenced  by  proto- 
types in  bronze.  Arabesque  decoration  of  fine  and  delicate  rhythm. 

SHAPE 

Pear-shaped  body  divided  into  six  almond-shaped  and  raised  motives  in  the  lower  part;  they  alter- 
nate with  five  raised  motives  in  the  upper  range,  which  are  inverted  almond-shaped.  Slightly  conical 
foot  rim.  The  neck  long,  tubular  and  tapering  towards  the  mouth.  Bulbous  mouthpiece  with  small  lip 
rim;  a  curved  handle  connects  the  base  of  the  mouthpiece  with  the  shoulder. 

TECHNIQUE 

The  shape  of  the  bottle  makes  it  evident  that  it  cannot  have  been  turned  on  the  wheel,  and  indeed, 
the  sutures  of  the  mould  are  clearly  visible  on  both  sides  of  the  body.  Therefore  the  arabesques  in  the 
almond-shaped  motives  are  moulded.  But  the  neck  and  the  handle  are  ornamented  with  grooves,  flut- 
ing and  incisions  which  have  been  made  by  hand. 

DECORATION 

Light  yellowish  earthenware  covered  with  a  translucent  cobalt  blue  lead  glaze  of  wonderful  intensity 
of  color,  which,  being  thicker  in  the  incised  parts  of  the  pottery  and  thinner  on  the  raised  parts,  appears 
in  a  great  variety  of  shades. 

The  mouthpiece  and  the  upper  part  of  the  neck  are  decorated  with  incised  vertical  grooves  orflutings. 
The  handle  is  provided  with  a  thumb  piece  on  top  and  is  symmetrically  grooved  so  as  to  produce  a  kind 
of  laurel  leaf  pattern,  like  those  on  the  Syrian  glazed  potteries  of  the  Roman  period. 

The  almond-shaped  motives  are  decorated  with  a  very  fine  pattern  of  spiral  scrolls  with  arabesque 
leaves  and  flowers.  The  very  elaborate  interlacings  remind  one  of  the  arabesque  ornaments  in  Moham- 
madan  metal  and  woodwork  of  the  12th  century.  The  sketch  below  shows  the  development  of  these 


Arabesque  Decoration  of  Number  39. 


[1993 


alternating  almond-shaped  motives  on  a  plane  surface.  These  drawings  are  a  somewhat  free  interpre- 
tation of  this  delicate  arabesque  work,  although  true  in  spirit.  We  laid  stress  on  reproducing  these  del- 
icate ornaments  in  just  this  manner  in  order  to  show  what  a  source  of  inspiration  Mohammadan  art  can 
be  to  the  modern  craftsman,  particularly  the  textile  designer. 

REMARKS 

Another  very  beautiful  bottle  of  the  same  or  slightly  later  period,  covered  with  a  deep  cobalt  blue 
glaze  and  decorated  with  a  frieze  of  polo  players,  is  at  the  Metropolitan  Museum  of  Art  (See  Figure  15). 
Height,  14)4  inches. 


[200] 


Fig.  66.  Number  39.  Pottery  Bottle  with  Relief  Decoration.  Persia,  13th  century. 

Parish-Watson  Collection.  . 


NUMBER  40,  POTTERY  VASE  (RELIEF  DECORATION) 
PERSIA,  EARLY  14TH  CENTURY 


A  very  important  specimen  of  Persian  pottery,  with  relief  decoration  of  unusually  large  figures. 
SHAPE 

Cylindrical  body,  widening  a  trifle  towards  the  top.  Horizontal  shoulder,  slanting  slightly.  The  cylin- 
drical neck  is  broken.  The  lower  part  of  the  body  is  slightly  rounded  and  stands  on  a  low  foot  rim. 

TECHNIQUE 

Grayish  earthenware,  covered  with  a  thick  translucent  deep  cobalt  blue  glaze.  The  vase  was  not  turned 
on  the  wheel,  but  moulded  in  a  mould  consisting  of  two  semi-cylindrical  pieces,  the  decoration  of  which 
is  not  identical.  The  sutures  of  the  mould  are  plainly  visible.  It  is  not  impossible  that  the  modeling  was 
retouched  by  hand  before  the  firing.  The  glaze  has  coagulated  in  thick  drops  on  the  lower  part  of  the 
body.  The  glaze  is,  of  course,  much  thinner  on  the  raised  parts  of  the  relief  decoration  and  has  run 
thickly  together  in  the  deeply  incised  parts.  This  creates  a  charming  variety  of  tones  which  range  from 
delicate  pale  blue  to  the  deepest  intensity  of  color.  No  trace  of  overglaze  paint  is  visible.  The  glaze  is 
somewhat  covered  by  filmy  incrustations  and  iridescence. 

DECORATION 

On  the  shoulder  is  an  illegible  inscription  of  Neskhi  characters  in  relief.  On  the  body  is  a  frieze  of  ten 
dancing  men  and  women,  each  figure  about  four  inches  high.  The  background  is  filled  with  delicate 
spiral  scroll  work  with  conventionalized  arabesque  flowers  such  as  we  find  on  Figure  15  and  also  on 
the  Mohammadan  textiles  of  the  13th  and  14th  centuries.  About  this  unusual  subject  of  dancers,  see 
Introduction,  page  LVII. 

Below  this  charming  composition  is  a  small  frieze  in  which  we  find  a  composition  of  two  birds  repeated 
three  times.  One  of  the  birds  (on  the  right)  is  shown  upside  down.  This  group  represents  a  hawk  and  its 
prey. 

REMARKS 

Such  vases  and  pitchers  with  relief  decoration  of  dancers  are  rare.  Their  style  of  decoration  reminds 
one  of  the  Abbasid  miniature  paintings  of  the  same  period,  particularly  the  illustrations  of  the  Maka- 
mat  of  Hariri.  Pitchers  and  vases  of  this  type  are  found  in  cobalt  blue  as  well  as  in  light  turquoise  glaze. 
None  of  them  is  reproduced  in  Riviere's  famous  publication.  A  specimen  with  light  turquoise  glaze  is  at 
the  Metropolitan  Museum,  a  loan  of  Miss  Cora  Timkin. 

Height ,  10>^  inches;  diameter,  lyi  inches. 


[203] 


Fig.  67.  Number  40.  Pottery  Vase  (Relief  Decoration).  Persia,  early  14th  century. 

Parish-Watson  Collection. 


NUMBER  41,  LARGE  POTTERY  VASE  WITH  RELIEF  DECORATION 

PERSIA,  13TH  CENTURY 

SHAPE 

Ovoid  body,  standing  on  a  low  base.  Short  cylindrical  neck,  slightly  tapering  towards  the  mouth. 
TECHNIQUE 

Slightly  reddish  paste  with  relief  decoration  incised  by  hand  into  the  soft  clay  before  the  firing.  The 
two  double  rims  above  and  below  the  central  frieze  are  plastically  applied  and  indented  by  impressions 
at  regular  intervals.  The  body  is  covered  with  an  opaque,  light  turquoise  tin  glaze  which  has  coagu- 
lated in  thick  drops  over  the  base  which  is  otherwise  unglazed.  After  the  main  firing  the  vase  was 
decorated  in  the  light  fire  of  the  muffle  kiln.  The  vase  seems  to  have  been  partly  gilded;  much  of  the 
gold  has  worn  off  and  the  outlines  of  the  different  figures  and  ornamental  motives  are  accentuated  by 
red  tracery. 

DECORATION 

Neck:  An  inscription  in  bold  Neskhi  characters  on  a  background  of  slightly  indicated  floral  scrolls  runs 
around  the  neck. 

Body:  On  the  shoulder  is  a  very  fine  frieze  of  running  animals,  lion,  hare,  panther,  etc.,  of  sweeping 
design,  showing  the  masterly  hand  of  the  craftsman  working  the  clay,  probably  with  a  wooden  tool.  The 
main  frieze  around  the  body  consists  of  a  repeated  kidney-shaped  arabesque  plant  motif,  with  the  lower 
part  scrolled  in  two  symmetrical  spirals  similar  to  a  Chinese  jui  scepter  head.  This  motif  is  filled  by  a 
small  arabesque  tree  with  a  bold  and  elegantly  scrolled  arabesque  leaf  on  each  side.  Similar  floral  mo- 
tives are  found  on  Egyptian  late  classic  textiles  and  in  early  Mohammadan  art. 

The  lower  part  of  the  body  is  covered  by  a  fish  scale  pattern,  very  rare  in  Mohammadan  art  before 
the  16th  century. 

REMARKS 

Both  on  account  of  its  size  and  decoration  this  vase  is  an  extremely  important  specimen.  The  Museum 
in  Berlin  possesses  another  specimen  which  may  be  compared  with  this  important  piece  (See  Figure  70) ; 
it  was  probably  made  by  the  same  craftsman  and  was  exhibited  at  the  Exhibition  of  Masterpieces  of 
Mohammadan  Art  in  Munich,  1910,  as  Number  1190.  It  is  published  in  the  publication  of  this  exhibi- 
tion in  Plate  106  and  is  discussed  in  the  bulletin  of  the  Berlin  Museum  (Amtlichte  Berichte,  XXX,  3). 
The  turquoise  in  the  Berlin  vase  is  exactly  the  same,  but  no  trace  of  gilding  or  red  tracery  has  remained. 
The  neck  of  the  Berlin  vase  is  missing  but  there  is  enough  left  to  ascertain  that  it  was  decorated  with  a 
Neskhi  inscription  in  relief.  On  the  shoulder  is  an  analogous,  but  not  identical  frieze  of  running  animals. 
The  frieze  of  arabesque  motives  is  slightly  different  on  the  Berlin  vase;  it  shows  two  rows  of  smaller 
kidney-shaped  motives.  The  scale  pattern  on  the  lower  part  of  the  body  is  identical.  Two  other  speci- 
mens appeared  in  the  New  York  market  in  1920. 

Height,  27  inches. 

This  vase  is  now  in  the  collection  of  Mr.  John  N.  Willys,  Toledo,  Ohio. 


[207} 


Fig.  68.  Number  41.  Large  Pottery  Vase  with  Relief  Decoration.  Persia,  13th  century. 
Formerly  Parish-Watson,  now  John  N.  Willys  Collection. 


NUMBER  42,  LARGE  POTTERY  VASE  WITH  RELIEF  DECORATION 
PERSIA,  13TH  TO  14TH  CENTURY 


The  most  important  specimen  of  Persian  relief  pottery,  comparable  in  size  and  artistic  importance 
only  to  the  great  vase  in  the  Hermitage  in  Petrograd  which  was  formerly  in  the  Basilewski  collection. 

SHAPE 

Ovoidal  shape  with  truncated  base.  Tubular  neck,  tapering  towards  the  mouth.  Thick  mouth  rim  and 
all-over  decoration  in  high  relief.  The  vase  has  no  foot  or  foot  rim,  but  stands  directly  on  the  flat  bottom 
of  the  body. 

TECHNIQUE 

Buff  earthenware.  The  vase  seems  to  have  been  hand  shaped,  not  turned  on  the  wheel.  The  hand 
modeled  decoration  of  friezes  of  human  figures  is  one  of  the  finest  specimens  of  Mohammadan  sculpture. 

The  entire  vase  is  covered  with  a  thick  translucent  cobalt  blue  glaze  which  appears  of  deeper  color  on 
the  parts  where  it  has  coagulated.  The  figures  and  other  details  of  the  decoration  are  outlined  with  deli- 
cate tracings  of  red;  the  background  as  well  as  many  details  of  the  pattern  shows  traces  of  gilding.  The 
cobalt  blue  color  has  been  partly  covered  by  a  rich  golden  and  silvery  iridescence. 

DECORATION 

The  vase  is  decorated  with  five  friezes,  one  on  the  neck,  four  on  the  body. 

Neck:  The  frieze  on  the  neck  shows  a  row  of  musicians,  with  arabesque  plants  in  between  forming  the 
background.  The  sequence  of  the  figures  from  left  to  right  is  as  follows: 
One  seated  figure  sings  or  listens  to  the  music  of  a  flute  player. 

Then  follows  a  woman  beating  a  tambourine  and  another  one  playing  a  small  harp.  The  sounding  box 
of  the  harp  seems  to  be  vertical,  the  second  arm  of  the  harp  is  horizontal.  A  third  person,  singing  or  lis- 
tening, seems  to  be  a  woman  and  wears  the  same  style  of  bonnet  as  the  other  two. 

The  last  group  consists  of  two  persons,  probably  women.  One  seems  to  beat  a  small  kettle-drum  held 
on  the  floor  in  front  of  her;  the  other  one  plays  a  large  mandolin. 

Consequently  we  have  the  same  number  of  seven  musicians  and  singers  as  we  found  on  the  goblet 
Number  11.  Similar  compositions  are  also  found  on  the  bowl  Number  16  (fourteen  personages)  and  the 
glass  vase  Number  48,  with  six  personages. 

Body:  The  second  frieze,  forming  a  small  border  on  the  shoulder  of  the  vase,  shows  a  row  of  walking 
animals  going  towards  the  left.  They  are  in  the  following  sequence:  two  small  animals  which  resemble 
bears  or  tapirs,  a  lynx,  a  winged  griffon  (an  Assyrian  motif),  a  fox,  a  deer  pursued  by  a  hunting  leopard 
and  a  greyhound.  All  these  animals  are  represented  in  spirited  movement  on  a  background  of  arabesque 
scrolls  (Compare  the  animal  frieze  of  Number  41). 

The  main  frieze  consists  of  a  row  of  six  polo  players  on  horseback.  Their  attitudes  are  vivid  and  inter- 
esting. Several  hold  the  long  sticks  used  in  polo  play.  One  bends  down  from  his  horse  to  catch  the  ball, 
while  the  man  in  front  of  him  rides  with  arms  crossed  over  his  breast.  Between  the  horsemen  are  beauti- 
ful arabesque  plants  of  simple  design  (Compare  the  frieze  on  Figure  15). 

Below  the  main  frieze  is  another  frieze  with  various  representations  which  are  partly  repeated  but  not 
moulded.  We  see  first  a  cypress  tree  with  a  little  pond  below,  in  which  fish  are  swimming.  Next  to  it,  on 
a  background  of  bold  arabesque  twigs,  is  a  man  who  appears  to  dig  the  earth  with  a  spade  or  to  fell  a  tree. 
This  group  is  followed  by  three  walking  animals;  one  is  probably  a  lynx,  another,  a  crane  or  a  peacock. 
After  this  we  find  the  same  composition  of  the  man  digging,  and  the  cypress  tree  with  the  pond  and  the 
fish  below.  A  fox  is  seen  walking  towards  the  pond.  Then  follows  another  bird,  seemingly  a  crane,  and 
finally  a  winged  griffon  which  walks  in  the  direction  of  the  first  cypress  tree.  The  drawing  of  the  plant 
motives  is  particularly  beautiful  in  this  frieze.  It  may  be  that  this  frieze  illustrates  a  legendary  subject. 
The  lowest  frieze  shows  curved  spiral  stems  with  attached  arabesque  flowers  of  wonderful  design. 

REMARKS 

The  relief  decoration  of  this  vase  is  one  of  the  finest  specimens  of  Mohammadan  sculpture.  Very  little 

On] 


is  known  about  sculptural  art  in  the  Mohammadan  countries.  One  anticipates  that  there  was  none,  on 
account  of  the  general  aversion  to  representations  of  the  human  figure.  But  in  recent  years  a  series  of 
nearly  life-sized  human  heads  modeled  in  stucco  have  come  from  Persia,  which  are  extraordinary  in  their 
simple  and  grandiose  character  (Now  in  the  Kaiser  Friedrich  Museum  in  Berlin).  A  good  deal  of  similar 
sculpture  has  been  discovered  in  Konia,  the  Seljuk  capital  (Museum  of  Konia),  and  vases  and  tiles  with 
hand  modeled  relief  figural  decorations  are  a  further  proof  that  sculptural  art  was  not  neglected  in  the 
Mohammadan  countries. 

The  only  piece  existing  which  may  be  compared  to  the  present  specimen  is  the  famous  Basilewski  vase 
in  the  Hermitage  in  Petrograd.  It  is  decorated  only  in  lustre  on  a  white  ground  and  lacks  the  extraordi- 
nary richness  of  color  of  the  present  piece.  We  find  the  same  row  of  musicians  on  the  neck  of  the  Basil- 
ewski vase.  The  second  frieze  is  a  small  border  on  the  shoulder  showing  running  animals. The  main  frieze 
bears  the  same  composition  of  polo  players,  followed  by  another  frieze  with  diverse  animals,  as  in  the 
present  vase.  The  only  difference  between  the  two  vases  is  the  lowest  register,  which  shows  a  bird  pat- 
tern in  the  Basilewski  vase  instead  of  the  arabesque  flower  and  scroll  work  of  the  present  one.  The  scheme 
of  composition,  the  bold  modeling  and  the  interpretation  of  the  details  is  so  analogous  in  the  two  vases 
that  they  might  be  the  work  of  the  same  artist.  The  Basilewski  vase  measures  30^  inches  (78  cm.).  The 
present  vase  26  inches.  The  Basilewski  vase  has  hitherto  been  considered  a  unique  piece  and  has  been 
the  subject  of  a  special  publication  by  Dr.  F.  R.  Martin  (The  Persian  Lustre  Vase  in  the  Imperial  Her- 
mitage at  St.  Petersburg,  Stockholm  and  Leipzig,  1899).  It  has  been  reproduced  in  colors  by  Riviere, 
"Ceramique  Musulmane,"  Plate  66.  (See  Figure  74). 

A  similar  frieze  of  polo  players  forms  the  main  decoration  on  one  of  the  most  famous  Mohammadan 
bronzes,  made  between  1239  and  1249,  for  Melek  es  Saleh,  Sultan  of  Damascus,  and  now  in  the  collec- 
tion of  the  Duke  of  Arenberg,  Brussels.  (111.  in  Migeon,  Expos,  des  Arts  Musulmans,  Paris,  1903,  Plates 
11  and  12  and  Munich  Exhibition  Plate  147.)  See  Figure  84. 

Height,  26  inches;  diameter  (of  the  body)  15  inches.  Diameter  of  the  opening  of  the  neck,  6}4  inches. 


[212] 


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Fig.  71.  Number  42.  Large  Relief  Pottery  Vase.  Persia,  about  1300  A.  D. 

Parish-Watson  Collection. 


Fig.  72.  Another  View  of  Number  42. 


Fig.  73.  Another  View  of  Number 


Fig.  74.  Large  Pottery  Lustre  Vase.  Persia,  early  14th  century. 
Basilewski  Collection,  now  Hermitage,  Petrograd. 


Fig.  80 

Figs.  79  and  80.  Details  of  Number  42. 


Fig.  82 


Figs.  81  and  82.  Details  of  Number  42. 


Fig.  84.  Detail  of  Bronze  Basin,  Frieze  of  Polo  Players.  Syria,  between  1 239-1249  A.  D. 

Collection  of  Duke  of  Arenberg. 


NUMBER  43,  RHAGES  POTTERY  BOWL  (LUSTRE  DECORATION) 


PERSIA,  13TH  CENTURY 

SHAPE 

Semi-globular  shape,  slightly  gadrooned  on  the  outside.  The  potting  is  very  fine  and  the  body  grad- 
ually tapers  towards  the  rim,  giving  the  bowl  a  particular  charm  for  the  eye  as  well  as  for  the  touch. 
Cylindrical  foot  rim. 

TECHNIQUE 

Light  buff  earthenware  covered  with  a  white  slip,  painted  under  the  glaze  with  cobalt  and  turquoise 
blue,  covered  with  a  translucent  light  greenish  lead  glaze  and  decorated  on  top  of  the  glaze  with  brown 
lustre  color.  Beautiful  iridescence  covers  practically  the  entire  bowl. 

DECORATION 

Outside:The  body  is  slightly  gadrooned.  The  gadroons  are  outlined  alternately  with  turquoise  and  co- 
balt blue  and  are  painted  in  brown  lustre  with  a  kind  of  wheat-ear  pattern,  alternating  with  a  looped  line. 

Inside:  The  upper  rim  of  the  bowl  is  outlined  with  a  cobalt  blue  line.  Below  are  two  friezes  painted  in 
lustre,  which  is  practically  worn  away.  We  can,  however,  recognize  that  the  upper  frieze  was  decorated 
with  a  pattern  of  curved  stems  with  leaves.  The  lower  one  shows  a  kind  of  trellis  pattern. 

The  inside  of  the  bowl  is  divided  by  straight  lines  of  alternate  cobalt  and  turquoise  blue  into  twelve 
radial  stripes  which  are  decorated  with  diverse  patterns  painted  in  lustre  and  practically  worn  away. 

We  can  recognize  in  these  stripes  the  traces  of  a  pattern  with  scroll  work  and  leaves,  another  motif 
showing  a  straight  plant  stem  with  straight  leaves  and  small  flowers  and  a  third  with  a  kind  of  conven- 
tionalized arabesque  plant  in  a  symmetrical  composition  and  lively,  sketchy  design,  Such  alternating 
compositions  are  found  onSassanian  brass  platters  and  are  frequent  in  the  present  type  of  Rhages  pottery. 

Height,  S%  inches;  diameter,  \  inches. 

NUMBER  44,  RHAGES  POTTERY  BOWL  PAINTED  IN  MUFFLE  COLORS 

PERSIA,  12TH  TO  13TH  CENTURY 

SHAPE 

Semi-globular  bodyof  fine  potting,  the  clay  getting  thinner  towards  the  upper  rim.  Cylindrical  foot  rim. 
TECHNIQUE 

Light  grayish  earthenware,  stained  on  the  foot  rim  (as  far  as  it  is  untouched  by  the  glaze)  with  red 
bolus  earth.  This  staining  with  bolus  earth  is  always  observed  in  potteries  of  this  type  and  recalls  sim- 
ilar colors  which  are  sometimes  added  to  the  base  of  certain  Chinese  stonewares  and  porcelains. 

The  body  is  glazed  with  a  thick  translucent  cobalt  blue  lead  glaze.  The  decoration  is  painted  on  top 
of  the  glaze  in  black,  opaque  white  and  red;  applied  gold  leaf  is  also  used. 

DECORATION 

Outside:  Radiant  opaque  white  lines.  The  rim  is  outlined  in  black. 

Inside:  The  rim  is  outlined  in  red  and  black.  Six  radiant  stripes  divide  the  field  of  the  bowl  into  six 
compartments.  The  radiant  stripes  have  a  black  background  with  a  small  all-over  pattern  outlined  in 
white  and  red,  heightened  with  gold  leaf.  This  pattern  consists  of  linear  interlacings,  lozenges,  ogives, 
spirals,  semi-circles  and  dots.  The  six  cobalt  blue  fields  have  larger  almond-shaped  central  motives  show- 
ing circles,  spiral  scrolls  and  dots  decorated  with  red  and  white  tracings,  heightened  with  gold  leaf. 

The  decoration  is  rather  lightly  sketched  and  has  great  simplicity  of  style. 

REMARKS 

This  type  of  ware  is  not  very  scarce.  An  analogous  bowl  from  the  Mutiaux  collection  in  Paris  is  re- 
produced in  Henri  Riviere's  "Ceramique  Musulmane"  on  Plate  52. 
Height)  4  inches,  diameter  8>2  inches. 

[237] 


NUMBER  45,  RHAGES  POTTERY  EWER 


PERSIA,  13TH  CENTURY 

SHAPE 

Pear-shaped  body  standing  on  a  low  foot  rim.  The  body  gradually  tapers  into  a  tall  neck  which  is 
headed  by  a  plastically  moulded  rooster's  head.  An  arched  handle  connects  the  head  with  the  middle  of 
the  body. 

TECHNIQUE 

Grayish  earthenware,  covered  with  a  white  slip  or  tin  enamel,  decorated  with  cobalt  blue.  As  often 
occurs  with  this  hue,  the  color  ran  during  the  firing  and  created  an  unexpected,  charming  effect.  The 
entire  decoration  is  covered  with  a  translucent  glaze  which  is  slightly  green  when  coagulated  in  thick 
drops.  The  glaze  has  large  crackles  and  a  beautiful  ivory  quality,  soft  to  the  touch. 

DECORATION 

Details  of  the  rooster  head  are  indicated  in  cobalt  blue.  An  indiscernible  frieze  surrounds  the  neck. 
The  body  is  decorated  with  three  pendant  motives  of  symmetrically  intertwined  arabesque  stems  and 
leaves,  such  as  are  very  frequent  in  Mohammadan  pottery  of  the  13th  century.  In  the  middle  of  these 
motives  are  slender  stems  with  little  birds  in  symmetrical,  opposite  representation. 

REMARKS 

The  rooster-headed  ewer,  which  had  first  been  shaped  in  bronze  and  later  on  imitated  in  pottery,  is 
an  old  motif  in  Oriental  art.  Here,  as  in  many  other  instances,  the  bronze  maker  set  the  example  for  the 
potter.  Such  bronze  ewers  were  exhibited  in  several  examples  at  the  Mohammadan  Exhibition  in  Mu- 
nich; one  is  reproduced  in  the  publication  on  this  exhibition,  Plate  134.  The  motif  is  not  rare  in  Mo- 
hammadan pottery.  A  very  fine  example  is  found,  for  instance,  in  Riviere's  "Ceramique  Musulmane" 
Plate  64  (Rosenberg  Collection). 

The  handle  of  this  ewer  is  of  great  interest.  It  seems  to  be  a  pottery  imitation  of  bronze  shapes  in 
which  different  strips  of  bronze  of  different  lengths  were  soldered  one  upon  the  other  with  curled-up 
finials.  There  can  be  no  doubt  that  this  handle  represents  the  tail  of  the  rooster.  This  is  proved  by  tex- 
tile patterns  in  which  tails  of  pigeons  or  peacocks  are  of  analogous  design.  The  famous  weave  of  Saint- 
Sernin  in  Toulouse  and  a  silk  in  the  Cluny  Museum  supply  sufficient  evidence  (See  Migeon,  "Manuel," 
Figures  334,  335). 

The  present  piece  is  an  important  specimen.  It  was  reproduced  in  a  fine  color  plate  by  Riviere  in  his 
"Ceramique  Musulmane,"  Plate  60.Therefore  a  black  and  white  reproduction  has  been  deemed  sufficient 
in  the  present  publication. 

Height,  10)4  inches. 


[238] 


Fig.  88.  Number  43.  Rhages  Pottery  Bowl  (Lustre  Decoration).  Persia,  13th  century. 

Parish-Watson  Collection. 


Fig.  89.  Number  44.  Rhages  Pottery  Bowl  Painted  in  Muffle  Colors.  Persia,  I2th-i3th  century. 

Parish-Watson  Collection. 


Fig.  90.  Number  45.  Rhages  Pottery  Ewer.  Persia,  13th  century. 
Parish-Watson  Collection. 


NUMBER  46,  SULTANABAD  POTTERY  BOTTLE 


PERSIA,  13TH  TO  14TH  CENTURY 

SHAPE 

Globular  body  with  flattened  shoulder,  standing  on  a  low,  slightly  spreading  foot  rim.  Short,  thin, 
cylindrical  neck,  which  is  connected  by  a  handle  with  the  shoulder.  The  clay  of  the  handle  is  laid  around 
the  neck,  so  as  to  form  a  spin-whirl  shaped  brim  slightly  below  the  lip  of  the  neck. 

TECHNIQUE 

The  grayish  clay  is  partly  covered  with  white  slip  (circular  bands,  gadrooning  on  lower  body,  leaf 
friezes).  The  slip  is  partly  scratched  away,  so  that  only  flowers  and  leaves  remain  in  slightly  raised  white 
slip,  while  the  background  shows  the  gray  clay  of  the  body.  The  details  of  the  floral  pattern  and  of  the 
balance  of  the  design  are  indicated  in  black  underglaze  paint.  The  whole  is  covered  with  a  translucent, 
slightly  greenish  glaze.  Seen  through  this  glaze,  black  and  white  appear  as  such,  while  the  background 
of  the  natural  clay  appears  in  an  olive-greenish  gray.  A  subtle  subdued  harmony  of  pastel  shades  results. 
It  is  partly  covered  by  a  brilliant  silvery  metallic  iridescence. 

DECORATION 

The  lower  part  of  the  body  is  gadrooned  by  lines  in  black  paint  and  bands  in  white  slip.  The  upper 
part  is  decorated  by  a  broad  ornamental  band  about  two  inches  wide,  with  an  all-over  pattern  of  flowers 
and  leaves  on  stems  of  a  free,  sketchy  and  asymmetrical  design.  Above  this  is  a  small  band  with  black 
scribbling  which  might  be  a  very  conventionalized  Neskhi  inscription.  On  the  joint  of  shoulder  and 
neck  are  two  other  small  bands  with  sketchily  indicated  flowers,  like  the  main  frieze.  The  entire  decora- 
tion has  nothing  startling  in  its  subject,  but  the  different  parts  of  the  ornamentation  are  extremely  well 
balanced  and  the  simple  gadrooning  forms  an  excellent  contrast  to  the  lively  design  of  the  large  floral 
frieze. 

This  bottle  is  an  unpretentious  little  piece,  but  if  refined  balance  in  proportion  and  design  make  a 
work  of  art,  rather  than  an  elaborate  subject,  the  present  piece  may  find  a  high  place  in  our  esteem. 
Height,  6  inches. 

NUMBER  47,  SULTANABAD  POTTERY  BOWL 
PERSIA,  13TH  TO  14TH  CENTURY 

SHAPE 

Semi-globular  shape,  standing  on  a  low  foot  rim. 
TECHNIQUE 

Similar  to  that  of  Number  46.  The  bowl  is  made  of  grayish  clay.  This  clay  is  covered  on  the  outside 
with  a  white  slip.  The  slip  has  an  underglaze  decoration  of  cobalt  blue  and  black. 

The  decoration  of  the  inside  is  in  slightly  different  technique.  The  subjects  (birds,  figures,  flowers), 
are  put  in  slightly  raised  white  slip  on  a  background  of  the  body  clay.  Details  are  pencilled  in  black 
paint.  The  olive  gray  background  does  not  appear,  however,  but  is  entirely  covered  with  cobalt  blue. 
There  is  a  slight  iridescence. 

DECORATION 

The  Chinese  character  manifests  itself  in  this  piece  more  distinctly  than  in  Number  46. 

Outside:  The  outside  is  decorated  with  an  amusing  sketchy  scribbling  of  stems,  shrubs  and  leaves. 
It  must  have  been  done  rapidly  by  a  man  who  wanted  to  get  through  with  the  work,  and  at  the  same 
time  enjoyed  the  sensation  of  speed.  Without  knowledge  of  some  Chinese  art,  whether  painting  or  pot- 
tery, he  would  not  have  been  able  to  do  such  work.  His  ancestors — when  neglectful — would  have  made 
roughly  drawn  lines.  He  does  not  paint;  he  brushes  hastily.  It  is  a  new  mentality,  which  lasted  a  few 
hundred  years.  The  Daghestan  and  Kashan  wares,  from  the  16th  century  down  almost  to  the  present 

[243] 


day,  where  the  demand  for  fakes  happily  revives  old  techniques,  delight  in  these  rapid  sketches  "a  la 
Chinoise." 

Inside:  In  the  decoration  of  the  inside  the  artist  was  more  careful.  Rim  and  central  medallion  are  set 
off  by  energetic  black  and  white  lines.  The  sides  are  filled  with  a  frieze  of  four  flying  Chinese  phoenixes, 
roughly  set  on  a  background  of  "peony"  flowers  and  leaves. 

The  phoenixes  are  a  typically  Chinese  motif,  with  their  rooster  heads  and  long,  pheasant  tail  feathers. 
They  are  the  same  birds  which  appear  as  early  as  the  Chinese  Han  reliefs  and  textiles,  and  also  on  the 
medallion  weaves  of  the  Tang  period. 

The  central  medallion  shows  a  group  similar  to  a  miniature  of  the  Eastern  Persian  or  Mongolian 
school.  Persian  dealers  like  to  identify  such  compositions,  which  are  fairly  frequent  on  Sultanabad  pot- 
teries, with  definite  scenes  from  the  Shahnameh.  This  is  quite  likely,  although  a  less  vivid  imagination 
will  be  in  trouble  to  identify  the  persons  represented.  However,  they  must  represent  somebody  and  the 
description,  "two  persons  seated  on  floral  background,"  is  perhaps  scientific,  but  not  very  satisfactory. 
Both  persons  seem  to  be  men.  They  are  clad  in  long  caftans  with  long  sleeves  without  Tiraz  ribbons. 
The  fabric  is  dotted  with  an  all-over  pattern  of  three-globe  motives,  which  are  found  as  early  as  the 
Greek  vases  and  are  a  stock  ornament  of  Near  Eastern  textiles.  The  heads  are  brought  into  relief  by 
large  haloes.  Both  persons  seem  to  be  in  lively  discussion  with  one  arm  raised.  Although  no  chairs  are 
indicated,  the  figures  are  not  represented  as  sitting  on  the  soil  in  Near  Eastern  fashion.  They  seem  to  be 
seated  on  chairs  in  Chinese  style,  similar  to  the  representations  in  miniatures  of  the  Mongolian  school. 
The  drawing  of  the  figures  is  vivid,  rounded  and  sketchy,  and  reminds  one  of  miniatures  of  the  Jami  al 
Tawarik  of  the  Kevorkian  Collection,  or  those  of  the  Kalila  we  Dimna  manuscript  which  is  now  scat- 
tered among  Paris  collectors. 

REMARKS 

Bowls  of  this  type  sometimes  occur.  In  the  collection  of  Jacques  Doucet  in  Paris  is  a  similar  bowl  ex- 
ecuted in  exactly  the  same  technique.  (See  Riviere,  Plate  71  and  Munich  Mohammadan  Exhibition, 
Plate  103.)  The  two  persons  represented  there  are  absolutely  analogous  in  style.  They  seem  to  wear 
strange,  bulging  felt  or  fur  hats  with  broad  brims,  similar  to  that  worn  by  Arnolfini  in  the  well  known 
Van  Eyck  painting.  The  figure  to  the  right  in  the  present  bowl  seems  to  wear  the  same  headgear.  The 
border  shows  the  same  four  phoenixes,  but  they  alternate  with  heart  shaped  floral  medallions.  The  floral 
background  on  both  pieces  is  identical. 

Height,  4  inches;  diameter,  S^i  inches. 


[244] 


Fig.  91.  Number  46.  Sultanabad  Pottery  Bottle.       Fig.  92.  Pottery  Bowl.  Sultanabad, Persia,  i-ithcentury. 
Persia,  I3th-i4th  century.  Jacques  Doucet  Collection, Paris. 

Parish-Watson  Collection. 


Fig.  93.  Number  47.  Sultanabad  Pottery  Bowl.  Persia,  I3th-i4th  century. 

Parish-Watson  Collection. 


NUMBER  48,  GLASS  BOTTLE  WITH  ENAMEL  DECORATION 


EGYPT  OR  SYRIA,  13TH  TO  14TH  CENTURY 

SHAPE 

Compressed  bulbous  body  formed  by  the  compression  of  a  blown  glass  globe  and  showing  traces  of  the 
punty  rod  on  the  bottom.  Low  foot  rim.  Tall  tubular  neck,  with  bulbous  swelling  in  the  lower  part  and 
with  a  globular  mouth  surmounted  by  a  cup-shaped,  spreading  lip  piece. 

TECHNIQUE 

The  body  is  of  translucent  amber  yellow  glass  with  numerous  air  bubbles  in  the  glass;  such  amber  glass 
is  very  rare.  The  usual  color  is  translucent  greenish  or  translucent  cobalt  blue.  The  decoration  is  out- 
lined in  delicate  tracery  of  red  enamel.  The  figures  and  numerous  details  of  the  floral  ornamentation 
were  heightened  with  gold  paint.  Details  of  the  decoration  are  executed  in  thick  opaque  enamel. 

Colors  employed:  White,  yellow,  red,  green  and  cobalt  blue. 

DECORATION 

Starting  from  the  top,  we  find  the  following  series  of  friezes:  Tracery  of  floral  scroll  work  in  red,  with 
traces  of  gilding;  a  small  frieze  of  interlaced  arabesque  stems  and  flowers  in  cobalt  blue  enamel,  out- 
lined in  red;  another  frieze  of  arabesque  scroll  work  outlined  in  red  with  traces  of  gilding;  the  main  frieze 
of  beautifully  drawn  Neskhi  inscription  in  cobalt  blue  enamel  outlined  in  red  on  a  background  of  ara- 
besque scroll  work  in  polychrome  enamel.  According  to  Professor  Sprengling's  reading  this  Neskhi  in- 
scription repeats  three  times  the  words  "al  Alamu,"  "universe,"  or  "al  Alimu,"  "the  knowing,  the 
learned."  As  there  are  no  strokes  under  the  character  "1",  the  reading  "al  Alamu"  seems  to  be  the  correct 
one. 

Body:  Small  frieze  of  spirited  arabesque  scroll  work  outlined  in  red  with  traces  of  gilding.  In  between 
are  three  circular  medallions  with  arabesque  flowers  in  polychrome  enamel. 
The  main  frieze  is  composed  of  three  figural  compositions  separated  by  three  large  circular  medallions. 


[247] 


In  the  medallions  we  find  beautiful  interlacings  of  spiral  stems  and  arabesque  leaves  with  traces  of 
gilding  on  a  background  of  thick  cobalt  blue  enamel.  Such  rosaces  are  identical  with  the  arabesque  ro- 
saces which  are  found  in  the  Cufic  Korans  of  an  earlier  period  and  with  the  medallions  and  heading  in 
the  Neskhi  and  Tsulus  Korans  of  the  Mameluke  period.  However,  this  style  of  decoration  is  not  confined 
to  Egypt;  it  is  also  found  in  Syria,  which  for  centuries  was  politically  united  to  Egypt  (See  page  71). 

The  three  figural  compositions  are  rather  unusual  for  Sunnite  Egypt  and  Syria,  where  such  represen- 
tations are  generally  considered  as  improper.  Manuscripts  with  miniatures  are  much  rarer  from  these 
countries  than  those  from  Persia  and  Turkestan.  Glass  and  bronze  vessels  with  figural  representations 
are  also  much  less  frequent  than  works  which  only  show  a  decoration  of  arabesques,  inscriptions  and 
peony  patterns. 

The  compositions  on  the  present  vase  are  executed  in  delicate  tracery  of  red  and  show  evidence  of 
rich  gilding  (See  sketches  on  pages  249-251).  They  depict  different  musicians  on  a  background  of  elab- 
orate arabesque  scroll  work.  In  the  first  composition  we  find  a  musician  playing  a  mandolin  and  another 
beating  a  large  kettle-drum.  Both  men  wear  turbans.  In  the  next  division  one  man  with  a  turban  beats 
a  hand  drum  or  a  tambourine,  while  the  other  one  who  wears  a  curiously  pointed  bonnet  plays  the  harp. 
The  last  and  third  composition  shows  another  pair  of  musicians.  One  of  them,  in  a  quaint  bonnet  or 
turban,  beats  a  kind  of  cembalon  with  a  stick  which  looks  like  a  fly  brush.  The  other  musician  wears  an 
odd  hat  with  a  wide  brim  and  plays  a  bagpipe  or  flute.  This  instrument  is  not  quite  distinguishable  in 
the  picture. 

On  the  lower  part  of  the  body  are  two  small  friezes,  the  first  one  analogous  to  the  upper  frieze  of  the 
body,  the  lowest  one  forming  a  series  of  interlacings  ending  in  points,  thus  forming  a  kind  of  fringe  to  the 
upper  border. 

REMARKS 

Two  bottles  of  similar  shape,  but  without  human  figures,  are  in  the  collections  of  Baron  Alphonse  de 
Rothschild  and  Baron  Edmondde  Rothschild  (Both  illustrated  by  Migeon,  Exposition  Musulmane,  Plate 


Detail  of  Decoration  of  Number  48 


[248] 


Fig.  94.  Number  48.  Glass  Bottle  with  Enamel  Decoration.  Egypt  or  Syria,  I3th-i4th  century. 

Parish-Watson  Collection. 


63).  Another  is  in  the  collection  fo  S.  Bardac,  Paris  (Munich  Mohammadan  Exhibition,  Number  21 12, 
Plate  171).  The  specimen  in  the  Max  Strauss  Collection  in  Vienna  (Schmoranz,  Figure  22)  is  practically 
identical  to  the  present  one,  as  is  also  another  example  in  the  Vapereau  Collection  in  Paris  (Schmoranz, 
Plate  39).  Compare  also  the  bottle  in  the  South  Kensington  Museum  (Schmoranz,  Plate  25). 
Height,         inches;  diameter,  6^2  inches. 

Joined  to  the  preceding  piece  is  another  fragment  of  enameled  glass  of  the  same  period,  of  light  yel- 
lowish glass  with  two  friezes  of  inscription;  the  one  gilt,  outlined  in  red  on  a  thick  cobalt  blue  enamel 
ground,  the  other  one  in  gold  on  a  red  background,  the  red  being  enameled  on  the  inside  of  the  vessel. 

Size:  about  \}4hy\}4  inches. 


[251] 


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Old  Oriental  Gilt  and  Enamelled  Glass  Vessels. 
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i>54] 


SURVEY  OF  DATES  REFERRED  TO 


745-610  B.C.  Second  Assyrian  Empire — Nimrod,  Khorsabad, 
Nineveh. 

558-330  B.C.  Achaemenid  Dynasty. 

521-485  B.C.   Darius  I  of  Persia  (Susa,  Persepolis). 

485-464  B.C.  Xerxes. 

464-424  B.C.  Artaxerxes  (Palace  in  Susa). 

335S3°  B.C.   Darius  III,  vanquished  by  Alexander  the  Great. 

323  B.C.   Death  of  Alexander  the  Great. 
319-250  B.C.   Seleucid  Rule  in  Persia. 
250B.C.-226  A.D.  Parthian  Empire. 
226-641  A.D.  Sassanian  Empire. 
215-276  A.D.  Mani. 

622  A.D.  The  Hejira. 

641  A.D.   Battle  of  Nehawend;  end  of  the  Sassanian 
Empire. 

674  A.D.   Buchara  occupied  by  the  armies  of  the  Caliph. 
711  A.D.   Definite  occupation  of  Buchara  and  Samarcand 

by  the  Caliphat. 
724-748  A.D.   Emperor  Shomu  of  Japan.  Sassanian  works  of 

art  in  his  treasure  house  at  Nara. 
756  A.D.  Latest  date  of  additions  into  the  treasure  house 

at  Nara. 

751  A.D.   Battle  of  Kangli  between  the  Chinese  and  Arabs 
in  Western  Turkestan. 

786-809  A.D.  HarunalRashid;Raqqaone  of  his  capitals. 

838-883  A.  D.  Samarra,  Mesopotamia,  residence  of  the  Caliphs. 

10-uth  Century.  Raqqa  at  its  height. 

936  A.  D.  Foundation  of  Medinet  ez  Zarah  in  Spain. 

1010  A.D.  Destruction  of  Medinet  ez  Zarah  (near  Cordova). 

1220  A.D.  The  Mongols  under  Djenghiz  Khan  invade 

Khwarizm(Khiwa)  opening  Persia  to  Chinese  art. 

1 22 1  A.D.  Rhages  destroyed  by  the  Mongols. 

1259  A.D.   Bagdad  conquered  by  the  invading  Mongols  un- 
der Hulagu. 

1290  A.D.   Sultanabad  founded  by  Arghun  Khan. 
1295-1304  A.D.  Ghazan  Khan,  Mongol  Ruler.  Rhages  recovered. 
1385  A.D.  Destruction  of  Sultanabad  by  Timur. 


U55] 


INDEX 


A 

Abbasid  miniature  paintings;  xx,  xxi, 
131,  203. 

Abbasid  School,  xx,  LIU,  91,115,  143. 

Acanthus  ornamentation,  iv. 

Anatolian  potteries,  xviii. 

Animals,  friezes  of,  xxxm,  207. 

Arabesque  ornamentation;  ill,  iv,  xin, 
xvii,  xix,  xxxvi,  xxxvii,  79,  80,  87, 
116,  119,  123,  139,  147, 155, 157, 163, 
^7, 175,  179, 183,  199,  203,  207,  212. 

Arabic  influence,  xiii. 

Arabic  miniatures,  xlviii,  l. 

Arenberg  collection,  Duke  of,  212. 

Aretine  bowls,  Roman,  147. 

Arms,  depicted  on  pottery,  lx. 

Assyrian  horns,  xxxvi. 

Assyrian  influence,  Hi. 

Assyrian  motif,  xxvu,  xxxiv. 

Assyrian  reliefs,  ill,  liv. 

Aubergine  glaze,  iz. 

Azadeh,  xxxix,  xl,  l,  ioi. 

B 

Babylonia,  discoveries  in,  111. 

Bagdad,  xu,  xiv,  xx. 

Bagdad,  School  of,  xx. 

Bahram  Gur,  xxn,  xxm,  xxxix,  xl, 

XLIII,  XLIV,  L,  LX,  IOI,  115,  143,144. 

Basilewski  collection,  xvm,  xxm,  lxv, 

143,  211,  212. 
Beard,  l. 

Behzad,  School  of,  lxv. 

Bennese,  discoveries  in,  ix. 

Berlin  Museum,  viii,  207. 

Bobbed  hair,  depicted  on  pottery,  l. 

Bobrinskoy  Collection,  187. 

Bolus  earth,  use  in  Egyptian  potteries, 

XVI,  xvm. 
Boston  Museum  of  Fine  Arts,  76. 
Brass  band,  liv. 
Bronzes,  Mohammadan,  212. 
Bukalemon  glass,  ix. 
Bull,  xxxv,  193. 
Buyides,  xiv. 
Byzantine  influence  x. 
Byzantine  style,  iv. 
Byzantine  textile  patterns,  lxix. 
Byzantine  wares,  xi. 

C 

Cabinet  des  Medailles,  Paris,  xxvu. 
Caliphate,  School  of,  xx. 
Camel,  riding  on,  xlvii,  ioi,  143. 
Carrand  Collection,  lix,  157. 
Celadon,  viii. 
Cembalon  mi. 

Chicago  Art  Institute,  ix,  xv. 


Chinese,  early  influence  of,  in  Persian 

Potteries,  viii,  xx. 
Chinese  influence,  xiv,  xvi,  xx,  xxn, 

xxiv,  xxxv,  xxxvi. 

Chinese  Ming  period,  xxiv. 
Chinese  motives  and  symbols,  xx,  xxu, 
xxxvi,  243,  244. 

Chinese  Tang  wares,  vu,  viii. 
Clavichord,  mi. 
Cleveland  Museum  of  Art,  viii. 
Constantinople,  discoveries  in,  xi. 
Constantinople  Museum,  viii. 
Contemporaneous  life  as  reflected  in 

pottery  painting,  xliv. 
Cooper  Union,  xxxiv,  l. 
Coptic  inscriptions,  xxvu,  L. 
Coptic  tapestry,  l,  79. 
Cox,  Raymond,  xxvu. 
Court  ceremonials  and  entertainments, 

LIV. 

Crane,  xxxiv,  187. 

Crimea,  discoveries  in,  xi. 

Cufic  inscriptions,  xi,  xm,  xxvm,  l,76, 
79,  87,  88,  91,  101,  105,  113, 115,  119, 
123,  125,  131, 133, 143, 151, 171. 

Curtis,  Atherton  collection,  134. 

Cyprus,  discoveries  in,  xi. 

D 

Dancing,  lix,  203. 
Daghestan  ware,  243. 
Decorative  inscriptions,  xxvu. 
Decorations,  relief,  11,  ill,  viii,  xxu, 

155,  171,  175,  179,  193,  2°7- 
Demavend,  discoveries  in,  vu. 
DeMorgan,  J.,  vu,  x. 
Diaper  patterns,  lxvi,  88,  97,  163. 
Dieulafoy,  M.,  vu,  x. 
Djerablus,  discoveries  in,  ix. 
Dioscorides,  xx,  xxi,  xlviii,  xlix. 
Doucet  Collection,  xxxvi,  244. 
Dress  depicted  on  pottery,  xlviii,  l. 

E 

Eastern  Persian  School,  xx,  244. 
Egypt,  potteries  of,  11,  xvii,  xxxv. 
Egyptian  Technique,  11,  III. 
Egypto-Roman  tapestry,  xxvu. 
Enameled  Friezes,  from  Susa,  hi. 
Equestrian  Sports,  lxv. 

F 

Fabulous  creatures,  xxxm,  xxxiv. 
Falconry,  lx,  ioi,  116. 
Falke,  Otto  Von,  xxxiv,  l,  lxvi. 
Felt  cap,  xlix,  115. 
Ferdinandeum  in  Innsbruck,  lix. 
Firdusi's  poem  "The  Shahnameh" 

XXXVIII. 

t>57] 


Fish  motif,  xxxv,  151. 
Fire  Altar,  Sassanian,  xxvi. 
Flute,  liv. 

Fogg  Museum  of  Art,  xi. 

Food  and  table  service,  xlviii. 

Fostat  in  Egypt,  ancient  capital,  x,  xi, 
xvii,  76,  115. 

Fouquet  Collection  at  Cairo,  x. 
Fresco,  iv. 

Furniture  and  interiors,  xlvii,  xlviii. 
G 

Galenus,  xx,  xxi. 
Ganymede,  Sassanian  motif,  xi. 
Geometrical  interlacings,  111,  iv,  105, 
115,  147. 

Ghazan  Khan,  Mongol  ruler,  xxu. 
Ghaznawids,  xm,  xiv. 
Glazed  potteries  first  known  in  Egypt, 
11. 

Glazed  pottery,  ui. 
Godman  Collection,  xxxix. 
Gold  vessels,  use  of,  115. 
Gold  woven  galoons,  l. 
Greco-Roman  Pottery,  111,  iv. 
Greek  shapes,  11. 

Griffon,  xv,xxxiii,xxxiv,xxxv,xxxvi, 

Grinnell  Collection,  xv,  xvii. 
Guebri  wares,  vu. 
Guest,  A.  R.,  l. 
Guitar,  mi. 

Gunsaulus  Collection,  ix,  xv. 
H 

Halo  on  pottery,  xlix,  88, 115, 123, 125, 

i7i>i75>244- 
Hamadan,  discoveries  in,  xu. 
Hariri,  xx,  xxi,  xxu,  203. 
Harp,  liii,  liv,  88,  101,  131,  211,  248. 
Harpy,  xxxm. 

Harun  Al  Raschid,  Caliph  of  Bagdad, 

XII,  XIII. 

Headgear,  xlix,  97. 
Hermitage  at  Petrograd,  xvm,  xxvu, 
212. 

Herzfeld,  E,  vu. 

Heyd,  Dr.  Wilhelm,  ix. 

Homberg  Collection,  187. 

Horns,  Assyrian  motif,  xxxvi,  119. 

Horsemen,  88,97,116,119,  125,163,212. 

Horse  racing,  lxv. 

Hunting,  xliv,  lx,  116,  123,  143. 

I 

Ilkhans,  the,  xx,  xxiv. 
Incised  technique,  xu. 
Inscriptions,  decorative,  xxvu. 


INDEX 


Interlacings,  geometrical,  III,  iv,  105, 

115,  147. 
Interiors  and  furniture,  xlvii. 
Iridescence  in  pottery,  ix,  80,  83,  203, 

211,  243. 
Islam,  earliest  monuments  of,  iv. 
Islam  Empire  of,  III. 
Islam  pottery  relief  decorations,  11. 
Italy,  ceramists  of,  x. 
Italy,  discoveries  in  southern,  xi. 

J 

Jami  Al  Tawarik,  xx,  liv,  244. 
K 

Kalila  we  Dimna,  xxn,  244. 

Kaiser  Friedrich  Museum,vni,xii,  212. 

Kashan  wares,  243. 

Kelekian  Collection,  xxvu. 

Kevorkian  Collection,  xx,  244. 

Konia  Museum,  212. 

Kremer,  A.  v.,  Liu. 

Kus,  discoveries  in,  ix. 

L 

Layard's  "Nineveh,"  xxvi,  xxvu,  liv. 
Legends  represented  on  pottery, 

xxxix. 
Leopard,  xxvu,  116,  179. 
Lion,  xi,  xxvi,  xxxiii,  xxxiv,  lxv. 
Lotus  pattern,  Chinese,  xxxvu. 
Louvre,  Paris,  xn,  193. 
Lustre  pottery,  origin  of,  ix. 
Lyons,  Museum,  xxvu. 

M 

Manafi  Al  Hayawan,  xx,  xxi,  xxn. 

Mandolin,  mi,  liv,  248. 

Maraga,  xiv,  xxn,  xxiv. 

Martin,  F.  R.,  xxxiv,  liv,  88,  212. 

Max  Strauss  Collection,  251. 

McCormick  Collection,  ix. 

Medinet  ez  Zarah,  discoveries  in,  ix. 

Mesopotamian  pottery,  m,  xn. 

Metropolitan  Museum  of  Art,  vm,  xi, 
XII,  xv,  xxvu,  xxxiii,  xxxix, 
xlix,  lix,  lxv,  75,  84,  88,  105,  143, 
171,  175,  183,  187,  193,200,203. 

Migeon,  Gaston,  ix,  xxvu,  187,  212, 
238,  248. 

Miniature  painting,  xviii,xix,xx,xxiv, 
xliv,  lix,  lx. 

Mohammadan  Art,  in,  iv,  xxn,  xxin, 
xxvi. 

Mohammadan  conception  of  pottery,n. 
Mohammadan  pottery,  influence  of,  on 

Europeans,  xxv. 
Mohammadan  Potteries,  1,  11,  iv,  xix, 

xxiv,  84,  238. 


Mohammadan  textile  art,  97,  203. 

Mohl,  Jules,  xxxix. 

Mongols,  xiv,  xvi,  xx,  xxiv,  xlviii, 

LXIX. 

Mongolian  School,  xxiv,  liii,  244. 

Monochromes,  xv,  xvi. 

Morgan  Library,  xvin,  xxn. 

Mosque  Sidi  Okba  in  Kairouan,  tiles  in, 
ix. 

Mossoul,  xlix,  101,  187. 

Moulded  decoration  on  potteries,  xn. 

Munich  Mohammadan  exhibition,  iv, 

L,  LIX,  LX,  LXV,  105,  179,  187,  207, 

212,238,244,251. 

Museum  in  Constantinople,  vm. 
Music  and  musical  instruments,  liii. 
Music  Oriental,  liv. 
Mutiaux  Collection,  xxvu,  237. 

N 

Naubat,  royal  music,  liv. 

Near  East,  in,  vm,  xxxvn. 

Near  Eastern  pottery,xxv,76,i83,  244. 

Neskhi  inscriptions,  xxvin,  xxxm,  75, 

83,84,91,97,  105,  113,  119,  125,  133, 

203,  207,  243. 

Nineveh,  Layard's,  xxvi,  xxvu,  liv. 
O 

Opalescence,  ix. 

Opposite  symmetrical  representation, 
xxvi,xxxv,io5,i23,i33,i47,i75,i87. 

Oriental  Music,  liv. 

Ornamental  plant  motives,  xxxvi. 

Overglaze  decoration,  xvin,  xix,  87, 
151. 

P 

Palmetto  ornamentation,  xi,  xvn, 
xxxvn,  131,  157. 

Parthian  pottery,  m. 
Peacock,  xxxiv,  xxxv,  105,  125. 
Pehlewi  inscriptions,  xxvin. 
Peony  pattern,  Chinese,  xxn,  xxxvn, 
244. 

Persia,  discoveries  in,  vn. 
Persian  Art,  evolution  of,  xiv,  xxiv. 
Persian  costume,  xlviii. 
Persian  relief  pottery,  203,  211. 
Persian  spirit,  reawakening  of,  xiii. 
Petrograd,  Hermitage,  xvin,  xxvu,  212. 
Peytel  Collection,  xxxiv,  liv,  lix,  105. 
Pezard,  Maurice,  in,  vm,  x,  xi,  xn. 
Phoenix,  xxn,  244. 

Pictorial  representations  on  pottery, 
xxv. 

Piet  Lataudrie  Collection,  187. 
Plant  motives,  xxxvn,  211. 
Platters,  silver,  iv,  xxvn. 
Platters,  bronze,  iv. 

U58] 


Polo  playing,  lxv,  211,212. 

Polychrome  decorations,  xv,  xvin,  xix. 

Polychrome  enamel,  247. 

Polychrome  technique,  xvin,  xix. 

Pottery,  old  legends  represented  on, 
xxxix. 

Pottery  painter  compared  with  minia- 
ture painter,  xliv. 

Pottery  technique,during  classic  period 

in  Persia,  xvi,  87. 
Potteries  in  relief  decoration,  xxn. 
Potteries  with  incised  design,  xn,  xv. 
Potteries  with  slip  decorations,  xvi. 
Pourtales,  Count,  Collection,  lxv. 
Pseudo-Pehlewi  inscriptions,  xxvm. 

Q 

Quaia  of  the  Beni  Hammad  in  Algeria, 

discoveries  in  ix. 
Quseir  Amra,  fresco  paintings  in,  iv. 

R 

Raqqa,  city  of,  xn. 

Raqqa  wares,  xm,  xxvm,  75. 

Reigen  (German  dance)  lx. 

Relief  decorations,  11,  in,  vm,  xv,  xxn. 

Rhages,  destruction  of,  xiv. 

Rhages,  discoveries  on  site  of,  xiv,  xvi. 

Rhages  polychrome  decorations,  xxin. 

Rhages  polychrome  technique,  xvn,87, 

88,  91,  97,  101,  105,  115,  119,  123, 

I25>  133, 139,  H35  147, 151, 157, 
163,171,  179. 

Rhages  pottery,  motives  employed,xxv, 

LIII. 

Riefstahl,  R.  M.,  xxxiv. 
Riviere,  Henri,  x,  xn,  xxi,  xxxvin,  88, 
io5, 1 13, 134.  J93>  2°3,  212,  238,  244. 
Roman  Aretine  bowls,  147. 
Roman  pottery,  in. 
Rooster,  244. 

Rothschild  Collections,  248. 
Ruby  lustre,  ix. 

S 

Saffarids,  xm. 
Samanids,  xm,  xiv. 
Samarcand,  xm,  xxiv. 
Samarra,  city  of,  vn. 
Samarra,  excavations  in  vn,  vm,  ix. 
Samarra  period,  xiv,  xv. 
Sambon  Collection,  88. 
Santour,  modern  Persian  musical  in- 
strument, LIV. 
Sarcophagi,  in. 

Sarre,  F.,  vn,  vm,  ix,  xm,  179, 187. 

Sassanian  costume,  l. 

Sassanian  lustre  ware,  x. 

Sassanian  motives,  vn,  xxvn,  xxxvn. 


INDEX 


Sassanian  pottery,  iv,  VII. 

Sassanian  silver  plate,  xxvn,  xxxvn, 

LXVI. 

Schiff,  Mortimer,  Collection,  xxi,  xxxix 
105,  119,  125,  134,  144,  151,  157. 

School  of  Bagdad,  xx. 

School  of  Behzad,  lxv. 

School  of  the  Caliphate,  xx. 

Schulz,  Ph.  W.,  xxi,  xxxiv,  xxxvm, 
xlix,  liv,  105. 

Sefevi  Renaissance,  x. 

Seljuks,  xiv. 

Sgraffito  technique,  x,  xi,  xn, xvn,  xxiv. 
Shahs  of  Khwarizm,  xm,  xiv. 
Sidi  Okba  Mosque,  tiles  in,  ix. 
Slip,  employment  of,  xvi,  xvn. 
Smirnow,  J.  I.,  xxvn,  157. 
Southern  Italy,  discoveries  in,  xi. 
South  Kensington  Museum,  251. 
Sphinx,  xxvi,  xxxin,  xxxiv,  87, 155. 
Stork,  xxxvi. 

Sultanabad  potteries,  x,  xvi,  xxi,  xxiv, 

76,  244. 
Sung  period  in  China,  xv. 
Susa,  discoveries  in,  vn. 


Syria,  discoveries  in,  in. 
Syro-Egyptian  glass  bottle,  lxv. 
Syro-Egyptian  potteries,  xi. 

T 

"Tag"  on  horseback,  lxvi. 

Taherids,  xm. 

Taherid  period,  xx. 

Tambourine,  liii,  liv,  88,  211,  248. 

Tang  period,  xv,  244. 

Tang  porcelain,  imported  into  Near 
East,  vin. 

Textile  patterns  on  Mohammadan  pot- 
teries, LXVI. 

Textile  patterns  represented  on  pottery 
xxi. 

Textiles,  revolution  in  design  of,  lxix. 
Textiles,  Sassanian,  iv,  xxvi. 
Throne  represented  on  pottery,  xlviii, 
115. 

Tiffany  glass,  ix. 
Tiles  in  Sidi  Okba  Mosque,  ix. 
Timkin  Collection,  203. 
Tiraz  ribbons,  l,  liii,  88,  101,  105,  119, 
123,  244. 


Tiraz  galoons,  liii,  175. 
Transoxiana,  xin,  xx. 
Treatise  on  Automata,  xx,  liv,  105. 
Tree  of  life,  xxvi,  xxxvi. 
Turban,  xlix. 

Turkestan,  discoveries  in,  xx. 
Turkish  fez,  xlix. 

U 

Underglaze  decorations,  xvn,  xvm. 
Unglazed  pottery,  xi. 

V 

Vapereau  Collection,  251. 
Veramin,  discoveries  in,  xvi. 
Veramin  potteries,  x. 

W 

Weaves  depicted  on  pottery,  lxvi. 
Wetzel  Collection,  88. 
Willys  Collection,  167,  207. 

Z 

Zendjan,  discoveries  in,  xn. 
Zither,  liii. 


[259} 


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